Family drama ‘Tango’ dances around age-old questions

Thursday, December 17, 2009 | by michael nassberg

“Rashevski’s Tango” begins and ends with a visit to an elderly rabbi at his isolated synagogue in the Israeli desert. Some would say that Rabbi Shmouel is the last true Jew in the Rashevski family, the only one with both lineage and proper practice. The film’s focus, however, is on the siblings and children he abandoned, as they struggle to understand the role Judaism plays in their lives, individually and as a family.

A rundown of the characters shows they have reason to be confused: Family patriarch Dolfo eschews antiquated traditions and thrives in the modern world, yet can’t talk about his experiences in the Holocaust; his nephew Simon is married to a Christian, Isabelle, who expects an answer about whether he will be buried in a Jewish cemetery someday; and Dolfo’s grandniece and nephew, Nina and Ric, have issues with the religion of the person each wishes to marry. Additionally, family friend Antoine wants to convert to Judaism, but are his reasons justifiable to an Orthodox rabbi?

The catalyst to the story’s progression is the death of Rosa Rashevski, sister-in-law to Dolfo, mother or grandmother to the others. From its onset, “Rashevski’s Tango,” written and directed by Sam Garbarski, plays out as an ensemble drama. Yet the picture achieves levity and an optimistic outlook, often through the performances of the cast.

Nina (Tania Garbarski), who knows on some level that she’s already found the right person, runs around in circles anyway — is it too much to ask for a man who was born and raised Jewish but is not very religious anymore? — ever confident in what she thinks she wants in a husband. The actress does not take the dilemma of her character too far, grounding Nina as one who just lost a beloved family member: uncertain but not capricious.

Natan Cogan portrays the less-than-perfect Dolfo as the ideal elder: wise, tolerant, giving and jovial. He views assimilation not as a threat to Jewish identity, but as a way to introduce into it new ideas and people. Shmouel’s desertion of the family is less significant to Dolfo than the rabbi’s prejudice toward liberal Judaism.

Hippolyte Girardot (“Paris, Je T’aime”) — no stranger to films with Jewish subject matters, having starred in Israeli filmmaker Amos Gitai’s “One Day You’ll Understand” — is charming as Antoine: He is witty, patient and loyal to his choices. Despite the dubious nature of Antoine’s initial interest in converting, Girardot portrays the character as honest and dedicated, settling the skeptical viewer’s concerns.

Perhaps the most serious plot thread belongs to Simon (Michel Jonasz) and Isabelle (Ludmila Mikael), who never seem to find any tranquility. Her concerns put Simon on edge, and she repeatedly anticipates a violent response, despite his assurances it won’t happen. Both have valid points, and neither seem totally understanding of the other. Their quarrels don’t detract from the film’s generally upbeat tone, which strikes a balance between drama and comedy by avoiding negative portrayals.

Eventually, all of the characters find their answers and resolve their issues, coming to satisfying but different conclusions — no two Rashevskis come up with the same definition. The question of how to regard Judaism — roots or rearing, innate connection or discovered interest — comes down to what it means for each person.

The film, particularly through Dolfo, seems to favor finding one’s own comfort, hoping that a true family will transcend the differences.

“Rashevski’s Tango” was recently released on DVD by Menemsha Films.