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Song & Dance from page 49
Sammy Davis Jr., who saw
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and Dean Martin.
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the audience Vereen says. "People will
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ASIONIMISISSESIFORMIONften-a l' -
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Featuring
&
arly in the morning of Jan. 31
here, some sleepy official will
read off the nominations for the
78th Academy Awards, and perhaps
none will follow the announcements
more anxiously than filmmakers in 58
foreign countries.
The Israeli entry, which highlights the
plight of foreign workers in the Jewish
state, is unlikely to be nominated, but
the German, Hungarian, and Palestinian
entries offer storylines that should be of
special interest to Jewish viewers.
Judging by critical buzz and personal
reviews, here are the films' nomination
chances, ranked from best to worst.
Palestinian film Paradise Now, which
follows two suicide bombers from
Nablus in their painstaking preparations
to blow up a Tel Aviv bus, re-enforced its
frontrunner status earlier this month
when it picked up the Golden Globe
award for Best Foreign Film.
Although the sympathies of director
Hany Abu-Assad lie clearly on the
Palestinian side, he avoids a simplistic
tirade. With excellent acting and a
tight, tense plot, the film tries t6 give
an insight into the motivations of the
terrorists, their sense of humiliation
under Israeli occupation, their fanati-
cism as well as their doubts and mis-
givings.
In what may be a nod to Western
sensibilities, a beautiful Arab woman,
who tries to dissuade the bombers
from their mission, is given a central
role..
•
For shrewd political or artistic rea-
sons, the film concludes without
exposing viewers to the ultimate hor-
ror and carnage of the bombers' goal.
Holocaust Themed
Sophie Scholl: The Final Days,
Germany's official entry, is the most
recent attempt by the country's young
filmrhakers to wrestle with the dark
legacy of the Hitler era.
The movie is a tribute to the death-
defying courage of a small group of
German university students, who
posted anti-Nazi leaflets throughout
Munich and Germany at the height of
World War II.
Sophie Scholl, a 21-year-old
Protestant, was the only woman at the
core of the underground resistance
group known as the White Rose.
Despite her discovery and execution,
the film's message and portrayal of her
is hopeful and defiant.
Hungary's entry, Fateless„ one of the
most nuanced Holocaust films ever
made, has won high critical acclaim
but is probably too ambiguous to win
Oscar recognition.
The story is based on a novel by
Hungarian Jewish writer Imre Kertesz,
who won the Nobel Prize in Literature
in 2002, and it is told through the eyes
of 14-year-old Gyuri Koves.
Koves, hauntingly portrayed by