MovieChat Forums > Walk on Water (2005) Discussion > Some random thoughts on this film...

Some random thoughts on this film...


This is my take on various aspects of the film:

--I think that the sexuality and flirtation in the film between the two main characters was not the primary focus. I felt that it was just a device to pave the way for the emotional - not sexual - redemption of the main character. Remember, he is as cold as ice inside, he is not even able to cry (so dry-eyed that he even has to use tear drops to moisten those baby blues). It is the opening of Eyal's emotional floodgates in the villa bedroom that is the turning point/climax of the film - not necessarily sexual liberation. The prominence of sexual innuendo and ambiguity in the film is in fact a smokescreen for the real underlying issue of Eyal's learning to feel/cry again.

--Also, while it's true that there is heavy duty gay flirting going on between Axel and Eyal in the latter half of the film, I felt that the flirting was at least in part a ploy on Eyal's part to ingratiate himself with Axel so he could gain access into the villa and learn more about the whereabouts of the Nazi grandfather. Eyal was completely finished with both Pia AND Axel...until Menachem came through for him and got him the assignment to go to Germany and track down the grandfather. So once he was there, he called upon Axel and flirted his way into Axel's good graces, thus gaining access to the Nazi Grandfather.

--In the thread below ("the USA and the ham fisted ending"), the OP states that Axel killed the grandfather basically to cover Eyal's ass because Eyal couldn't do it. Uh, no. I didn't get that at all. Axel is appalled at the Nazi legacy within his family and he himself did the killing out of his own loathing of his grandfather and what he represented - not to save Eyal's ass. That's what I felt, strongly.

--As for the ending, yes it was shocking that Eyal and Pia ended up together. But perhaps the coldness that had always marked Eyal's life finally began to lift at the villa with Axel, and for Eyal it was like a fresh new start in life. The ice was melting and he was able to consider Pia in a whole new light, whereas before he was only capable of contempt and indifference. I thought his phone dialogue with Axel didn't seem like he still "carried a torch," just that he had good feelings for Axel and considered him a friend (he gladly invites Axel's boyfriend Andreas to come along on a visit).

Anyone have any thoughts on any points?

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I basically agree with you, and am again glad to be discussing this, one of the best Israeli films of the decade.

Concerning Axel's motivation, I again agree, with two reservations and points:

(1) While he wasn't trying to "cover Eyal's ass", in the literal sense (he'd otherwise have to report back to the Mossad and admit failure), he was trying to save Eyal, in the more spiritual sense. He understood that Eyal's soul was hardened almost beyond redemption, and that this could save him from more killing.

(2) Axel was not only dealing with the past of his own family and nation, but with his own view of dealing with evil. Something happened to him in the metro, as he's talking with Eyal afterward. While before he was preaching tolerance and understanding of suicide bombers, he's not wishing violence upon those who hurt him, and other gays.

"Sometimes you have to take the bull by the tail, and face the truth" - G. Marx

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He understood that Eyal's soul was hardened almost beyond redemption, and that this could save him from more killing.


Why would yet another act of killing save Eyal from more killing? I don't see how Axel's killing of his grandfather had any redemptive function for Eyal, but I agree that the act of taking his grandfather's life was indicative that Axel had stopped seeing the world "through rose colored glasses" and was starting to get in touch with his own suppressed anger (his own suppressed shadow/dark side). In this way, Axel and Eyal are polarized within the film, each representing the opposite extremes of a spectrum, each needing to come toward the center to acheive balance within themselves: Eyal's heart is like ice and it needs to be melted; Axel is a bit too warm-hearted and he needs to get in touch with his inner coldness.

I also agree that this film is not just about these two individuals, it is about nations in a sense. On the outside, Axel comes across as the modern German ideal of being a "citizen of the world." He displays incredible openness, embracing people from all countries and backgrounds without reservation. But when it comes to dealing with his own country's troubling legacy, his ire is inflamed to the point of murder.

Eyal likewise embodies the classic Israeli ideal of the Sabra, detached, tough, cool as a cucumber. But slowly the pain is revealed layer by layer until the scene in the villa bedroom when Eyal cannot live the myth anymore and the pain of acting like an embodiment is laid bare.

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I don't see how Axel's killing of his grandfather had any redemptive function for Eyal

Remember his wife's suicide note, that Eyal "kills everything he touches". Eyal couldn't kill anymore, but he also couldn't return home without completing the mission. Axel gave him a way out.


Eyal likewise embodies the classic Israeli ideal of the Sabra...

Read what I wrote on an earlier thread: http://www.imdb.com/title/tt0352994/board/thread/140360386

"Sometimes you have to take the bull by the tail, and face the truth" - G. Marx

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