Gideon Levy demolishes the supposedly humanitarian message of Waltz with Bashir:
Hollywood will be enraptured, Europe will cheer and the Israeli Foreign Ministry will send the movie and its makers around the world to show off the country’s good side. But the truth is that it is propaganda. Stylish, sophisticated, gifted and tasteful – but propaganda. A new ambassador of culture will now join Amos Oz and A.B. Yehoshua, and he too will be considered fabulously enlightened – so different from the bloodthirsty soldiers at the checkpoints, the pilots who bomb residential neighborhoods, the artillerymen who shell women and children, and the combat engineers who rip up streets. Here, instead, is the opposite picture. Animated, too. Of enlightened, beautiful Israel, anguished and self-righteous, dancing a waltz, with and without Bashir. Why do we need propagandists, officers, commentators and spokespersons who will convey “information”? We have this waltz.
The waltz rests on two ideological foundations. One is the “we shot and we cried” syndrome: Oh, how we wept, yet our hands did not spill this blood. Add to this a pinch of Holocaust memories, without which there is no proper Israeli self-preoccupation. And a dash of victimization – another absolutely essential ingredient in public discourse here – and voila! You have the deceptive portrait of Israel 2008, in words and pictures.
This is not an uniquely Israeli disease of course. Just look at the endless stream of “sensitive”Vietnam movies that came out of Hollywood from the eighties onwards, which exclusively focused on American pain, with only lip service paid to what America did to Vietnam. Here in the Netherlands, we can’t shut up about what happened to us in World War II, but the independence struggle of Indonesia is only remembered in the context of Dutch suffering during the Japanese occupation.