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Gelobtes Land (2011)

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Film
Titel Das gelobte Land
Originaltitel The Promise
Produktionsland Großbritannien
Originalsprache Englisch, Deutsch
Erscheinungsjahr 2010
Länge 179 Minuten
Stab
Regie Peter Kosminsky
Drehbuch Hammoudie Boqaie, Saar Datner, Guy Raz
Produktion David Aukin, Hal Vogel
Musik Debbie Wiseman
Kamera David Higgs
Schnitt David Blackmore
Besetzung

Das gelobte Land (The Promise) ist ein vierteiliges Drama von Regisseur Peter Kosminsky, das 2011 mit dem One World Drama Preis ausgezeichnet wurde.[1] Die deutsche Erstausstrahlung erfolgte am 20. April 2012 auf arte.

Handlung

Erin Matthews in Israel (2005)

Len Matthews, nun über 80 Jahre alt, liegt von einem schweren Schlaganfall gelähmt in einem Krankenhaus. Bei seiner Haushaltsauflösung in Armley (Leeds, West Yorkshire, England) im Juni 2005 entdeckt dessen Enkeltochter Erin Matthews das Tagebuch ihres Großvaters. Es schildert drei Jahre seiner Soldatenzeit, darunter seine Erlebnisse als Befreier des KZ Bergen-Belsen (DP-Camp Belsen), als Len am 21. April 1945 für 6 Wochen für das Lager eingeteilt war. Zudem beschreibt das Tagebuch auch Lens Erlebnisse in Palästina in der Zeit vor und nach der UN-Vollversammlung zur Gründung Israels bis zum Abzug der britischen Besatzungsmacht am 14. Mai 1948.

Eliza Meyer

In ihrem Brückenjahr reist die 18-jährige Erin für einige Monate während Elizas Grundausbildung nach Cäsarea, eine Stadt in Israel nahe dem antiken Caesarea Maritima. Gastgeber Erins ist Eliza, die ihren Wehrdienst in Israel für zwei Jahre ableisten muss und die doppelte (britisch-israelische) Staatsbürgerschaft hat. Die Großeltern, Tanten und Onkel von Elizas Vater Max Meyer wurden im KZ Buchenwald ermordet.

Während der Reise vertieft sich die Engländerin in das Tagebuch. Sie liest zuerst den Schluss des Tagebuchs, das verschiedene Fragen aufwirft: Warum wurde Len unehrenhaft entlassen? Warum musste er ins Gefängnis? Und was hat es mit dem Schlüssel auf sich, den er Mohamed zurückgeben muss? Sie bleibt im Nahen Osten, bis dieses Rätsel geklärt ist.

Paul Meyer, Omar Habash

Britischer Soldatenfriehof in Ramleh.

Elizas Bruder Paul ist Ex-Armee-Angehöriger und nennt sich selbst Soldat für den Frieden (en: Combatants for Peace; he: לוחמים לשלום‎). Er wurde Anti-Zionist nach seinen Erfahrungen in Hebron. Er fährt Erin zum britischen Soldatenfriehof in Ramleh, wo Nash und Robinson begraben liegen. Anschließend fährt er sie nach Nablus, wo sie Omar Habash, Alimah Habash sowie Karif Habash – israelische Araber – kennenlernt. Sie führen sie zu den Nachfahren Mohammeds, dem Freund ihres Großvaters, der ursprünglich in Haifa wohnte und später nach Hebron und in den Gazastreifen zog.

Len Matthews in Palästina (1945)

Der Film zeigt nun auch die Vergangenheit von Len Matthews, der seit August 1945 in der 6th Airborne Division auf der Militärbasis Stella Maris im Britischen Mandatsgebiet in Palästina, stationiert ist. Die Militärbasis befindet sich im Stella Maris-Kloster (hebräisch מנזר סטלה מאריס) oder Kloster der Madonna des Berg Carmel in Haifa, ein Karmelitenkloster am Karmelgebirge in Israel. Dort dient er unter dem Kommando des tschechischen Captains Richard Rowntree.

Alec Hyman

King David Hotel, zerstört.

Der jüdische Private Alec Hyman soll zurückgeschickt werden, aber Len hat Mitleid mit ihm und behält ihn in Palästina. Nach dem Anschlag vom 22. Juli 1946 wird Hyman zusammengeschlagen, als er nackt in der Badewanne sitzt. Len kann ihn noch retten. Obwohl Alec Hyman jüdischer Abstammung ist, verteidigt er die arabischen Palästinenser. So kritisiert er, dass die jüdischen Einwohner Palästinas die Altstadt Jerusalems zusammenschießen würde und dass man die arabischen Palästinenser nicht allein ihrem Schicksal überlassen dürfte.

Abriegel- und Suchoperation in Kirjat Chaim 1945

In der britischen Armee werden Juden als Schreibkräfte und als Soldaten eingesetzt, die Geheimoperationen der Briten verraten. So auch im September 1945 bei der Abriegel- und Suchoperation in Kirjat Chaim (hebräisch קריית חיים), einem von fünf Krajot-Vororten von Haifa, Israel. Die Aktion wird jedoch von Len abgeblasen, das Dorf war verlassen, die Waffen wurden über Nacht weggeschafft. Es begrüßt sie nur ein alter Mann, der süffisant meint: „Wir haben nichts zu verbergen“. Bei der Rückkehr zur Militärbasis auf Stella Maris werden die Soldaten von einer Gruppe von Schulkindern mit einem Ständchen begrüßt. Die Soldaten erhalten Blumensträuße mit Kronen-Anemonen. Rowntree erklärt, dass die Anemonen oder Kalaniot auf Hebräisch: „Rot für die Baskenmütze der Fallschirmjäger, schwarz für sein Herz“, bedeuten.

Ziphora und Clara

Lens' Corporal Jackie Clough macht ihn September 1945 im Gästehaus der Stadt Haifa mit zwei jüdischen Frauen bekannt: Ziphora und Clara. Clara Rosenbaum wurde von der Stadt Haifa ausgebildet, die Briten zu unterhalten, damit diese die Gründung des Staates Israel unterstützen. Zuvor war sie mit Mutter und Vater, der Mitarbeiter der Berliner Morgenpost war, in Auschwitz. Der Vater ist nun bei der Irgun. Len und Clara werden ein Liebespaar. Jackie Clough und Ziphora werden auch ein Liebespaar, Ziphora erweist sich am Schluss als Sprecherin des verhassten anti-britisch eingestellten Zionisten-Radios: Nach dem Beschluss der UN-Vollversammlung zur Gründung Israels und vor dem Abzug der britischen Besatzungsmacht, wollen die Briten noch den Sender ausfindig machen und das Personal verhaften lassen. Corporal Jackie Clough lässt aber die Frau des Senders – Ziphora – laufen. Len stellt ihn daraufhin zur Rede: „Wieso hast du sie gehen lassen? Wieviel hast du ihr verraten?“ Jackie antwortet Len: „Alles, was sie wissen wollte“. Len fragt ihn, wie er das tun konnte. Jackie antwortet ihm: „Aus dem selben Grund, aus dem du Clara von Robbins und Nash erzählt hast!“. Len lässt Jackie Clough laufen und wird deswegen später verhört, Rowntree nimmt ihn dabei in Schutz. Der desertierte Corporal bleibt in Israel und wechselt nach dem Abzug der britischen Truppen zur jüdischen Seite. So sieht Len, wie Jackie Clough auf kämpfende Einheiten der arabischen Palästinenser schießt. Den Augenblick – in dem er Jackie beim Erschießen der Palästinenser erwischt – hat er noch auf dem Sterbebett vor Augen.

Kurz vor dem Abzug der britischen Truppen sieht auch Len seine jüdische Geliebte Clara zum letzten Mal und wirft ihr vor, ihn belogen zu haben. Sie antwortet ihm: „Nicht alles, was ich dir gesagt habe, war eine Lüge, Len! Ich habe getan, was ich tun musste, um dein Leben zu schützen, wie ich dir gesagt habe.“ Clara beschwört ihn zu bleiben: „Wir wären zusammen! Bleib!!!“ ruft sie ihm noch nach. Diesen Moment wird Len nie vergessen können und hat dieses Bild noch im Krankenhaus, wo er schwer gelähmt liegt, vor Augen.

Yaakov Maazel

Captain Richard Rowntree lässt Len befragen und erfährt durch Len von Leo Rosenbaum. Len erzählt, dass Leo Rosenbaum (als Gegenleistung für Claras Zuneigung) Informationen erwarten würde. Sein Verhalten sei so gewesen, als wollte er sagen: „Für die Freundschaft meiner Tochter gibt es einen Preis“. Rowntree befiehlt ihm, Leo zu sagen, dass Len mit der jüdischen Sache sympathisiere und Zugang zu streng vertraulichen Informationen habe und dass er gerne seine Freunde treffen würde. Rowntree beschließt, dass Len „für einen Tag den Juden spielen soll“ und bittet Len eine Kundgebung gegen die Einwanderungsquote in Zivil zu besuchen. Ohne Lens Wissen dient er jedoch als Lockvogel. Dabei wird Yaakov Maazel vor den Türen einer Synagoge durch Robbins erschossen. Daraufhin wirft Claras Vater Len aus der Wohnung: „Wir sind zwar staatenlos, aber nicht dumm“, rechtfertigt er den Rausschmiss. Len und Clara müssen sich nun im Geheimen treffen.

Operation Bulldog House 1946

Nachdem Clara erfährt, dass Len zum King David Hotel fahren muss, tut sie alles, dass er nicht zurückkehrt, weil sie von dem bevorstehenden Anschlag vom 22. Juli 1946 weiß. Dort wird die bevorstehende Operation Bulldog besprochen, bei der Tel Aviv 1946 abgeriegelt werden soll. Ziel der Operation ist es, die Irgun zu zerschlagen. Dabei sollen alle waffenfähigen Männer in Tel Aviv und Umgebung verhört, Synagogen und Hospitäler sollen nach Waffen durchsucht werden. Palästinensische Zivilbedienstete und Schreibkräfte dürfen davon nichts erfahren. Es bestünde die Gefahr, dass die jüdischen Angestellten die Geheimoperation untergraben könnten.

Awram Klein

Dov Gruner

Der Film beschreibt das Leben und Sterben des Irgun-Mitglied Awram Klein. Die Rolle des Awram Klein basiert teilweise auf Dov Gruner. Gruner wurde unter anderem wegen Sprengstoffanschlägen hingerichtet, bei denen Briten zu Tode kamen.[2] Klein dringt 1947 in die Polizeistation Tiberias ein, wo er drei Polizisten erschießt. Der Schwerveletzte wird daraufhin zum Tod durch den Strang veruteilt. Das zionistische Radio lässt ausrufen: „Was ihr einem von uns antut, wird zwei von euch angetan“. Anschließend erfolgt ein Angriff auf Lens Einheit: die Briten werden in aller Seelenruhe auf offener Straße inmitten einer Stadt vor den Augen der Juden erschossen. Private Derek Toogood wird in den Kopf geschossen, Len und ein anderer Private werden kampfunfähig geschossen. Sie werden in Haifa im Krankenhaus behandelt, wo sie auf Awram Klein treffen, der mit einer gebrochenen Kinnlade dort liegt. Nachdem dieser genesen ist, soll Klein nach Akkon gebracht werden, wo er gehängt werden soll. Klein soll jedoch noch im Krankenhaus von als Ärzten verkleideten Irgun-Mitgliedern befreit werden. Der Befreiungsversuch schlägt fehl, Len setzt sich noch für Klein ein, der von einem Polizisten zusammengeschlagen wird.

Bei der Ankunft in Claras Wohnung ist Len verstört, die Tür offen, die Wohnungseinrichtung verwüstet und die Wohnung scheinbar verlassen vorzufinden. Clara ist in der Badewanne. Ein Großteil ihres Haars wurde herausgerissen, und sie wurde über und über mit Schmieröl und Federn beschmiert. Clara erklärt weinend, dass sie von den Söhnen Pinchas geteert und gefedert wurde, weil sie sich mit einem Briten eingelassen habe. Len tröstet sie und bleibt bei ihr. Er erklärt ihr, dass er aber später wegmüsse, es gäbe es einen Termin, er dürfe aber nicht sagen, was es sei. Clara kann nicht glauben, dass selbst nach all dem, was mit ihr gemacht wurde, er ihr immer noch nicht vertrauen könne. Len gibt nach und erzählt ihr alles: Treffpunkt, Zeitpunkt, den Namen des Spions und dass er sich mit Sergeant Hugh Robbins und Sergeant Frank Nash trifft. Am Treffpunkt werden jedoch Len, Robbins und Nash von der Irgun gefangen genommen; sie wurden verraten. Nachdem Avraham Klein erhängt wird, werden Robbins und Nash am 30. Juli 1947 gehängt, während Len verschont wird. Clara teilt ihren Irgun-Mitstreitern mit, um ihren britischen Freund zu schützen: „Wollt ihr einem jüdischen Kind den Vater wegnehmen?“ Len wird während seiner Gefangennahme mehrmals verhört und soll in der Irgun mitmachen, er sagt Nein: „Sagen Sie Clara, die Antwort ist Nein.“

Abu-Hassan Mohammed

Sergeant Len verteidigt in Palästina 1946 den Teelieferanten seiner Kompanie Abu-Hassan Mohammed, als dieser von britischen Soldaten beleidigt wird. Daraufhin werden sie Freunde. Nachdem Len dem Araber Blumen für dessen Frau schenkt, lädt Mohammed ihn zu sich nach En Hod ein, wo die Familie wohnt. Das Dorf heißt heute Ein Hod und ist ein jüdisches Kulturzentrum.

Im Jahre 1947 wird Len nach einem Angriff auf seine Einheit in Haifa im Krankenhaus behandelt. Anschließend besucht er erneut seinen palästinensischen Freund Abu-Hassan Mohammed und unterrichtet dessen Sohn Hassan in Geometrie. Er wünscht ihm eine Zukunft mit einer guten Ausbildung in Mathematik, so dass er Palästina wiederaufbauen kann. Als nach dem Beschluss der UN-Vollversammlung 1947 Abu-Hassan Mohammed und seine Familie fliehen müssen, übergibt Abu-Hassan Mohammed den Schlüssel ihres Hauses in Haifa seinem Sohn Hassan. Bei der Flucht der Familie läuft aber Hassan weg. Len findet ihn wieder, muss aber erleben, wie der Junge erschossen wird und in seinen Armen verblutet. Hassan übergibt Len den Schlüssel zu ihrem Anwesen mit dem Versprechen, diesen der Familie zurückzugeben. Das Versprechen kann aber Len nicht halten, weil er wegen Fahnenflucht ins Gefängnis muss. Zwei Generationen später erledigt dessen Enkeltochter Erin das Versprechen, das einst ihr Großvater dem verblutenden Jungen gab. Sie fährt nach Gaza, trifft Hassans Schwester – nun eine alte, gebrechliche Frau – und übergibt ihr den Schlüssel.

Claire Foy and others at RTS The Promise event March 2011.

Information über Drehzeit und Drehort

The serial was filmed entirely in Israel, with a predominantly Israeli crew and through Israeli production company Lama Films; something very unusual for a UK television drama production. According to Kosminsky the team also looked at Morocco, Cyprus, Southern Spain and Tunisia, and could have recreated the 1940s sequences there; but nowhere else would have replicated the "buildings, range of cultures or topography" of modern-day Israel.[3] The early scene of the flat in Leeds was created in an Israeli studio.[4] Everything else was shot on location in and around Jerusalem, Haifa, Tel Aviv, Jaffa, Caesarea, Acre, Givat Brenner, Ein Hod, Peqi'in, Ramla and Beit Gemal[5] in a 68-day schedule involving 180 different locations.[3] Ben Gurion Airport stood in for Heathrow,[6] and the bombed rubble of the King David Hotel was filmed against a blue screen in a car park in Petach Tikva.[7] Part of the Old City in Jerusalem stood in for Nablus in the West Bank,[8] the Hebron-set scenes were filmed in Acre,[9] while Gaza was represented by Jisr al-Zarqa, "reputed to be the poorest town in Israel" according to Kosminsky.[10] The paratroopers' base at Stella Maris had been a challenge to find, but eventually the monastery at Beit Gemal was used and proved very accommodating.[11] Period military vehicles were also a challenge to source without shipping them in at prohibitive expense; the tracked armoured vehicle used in the series was an amalgam of parts from five different vehicles found in a junkyard, cobbled together into one that worked.[12]

Rezeption

England

Es gab 1.8 Millionen Zuschauer für den ersten Teil, gefolgt von 1.2 millionen, 1.3 millionen, und 1.2 millionen Zuschauern für die folgenden drei Teile.[13]

Die erste Folge wurde positiv aufgenommen,[14] obwohl Andrew Anthony im The Observer[15] sehr kritisch war und A.A. Gill in der The Sunday Times schrieb, dass er unbeindruckt sei.[16] Der Daily Express nannte es "...einen brennenden Dornbusch voller Genialität inmitten einer Wüste gutgemeinter TV dramas...", The Daily Telegraph meinte, der Film würde Baftas verdienen, und Caitlin Moran in The Times nannte es "das wahrscheinlich beste drama des Jahres".[14] Zu der zweiten Folge meinte Andrew Billen, in der The Times, dass Len und Erin die arabischen Palästinenser protegiert: "Kosminsky befriedigt unser aller Hoffnung, indem er Schuldzuweisungen in genau den gleichen Anteilen verteilt"; trotzdem lobte er die "immense und emotionale" Qualität der Serie.[17]

Die Serie als ganzes wurde vn Christina Patterson in The Independent gelobt, die meinte, dass "...schön geschossen und sehr gut geschrieben und sehr ausgewogen...";[18] und Rachel Cooke erklärte in New Statesman[19] sowie der The Observer meinte, dass der Film "...das Beste, was man im Fernsehen sehen konnte in diesem Jahr, wenn nicht sogar im Jahrzehnt." [9] There was also praise from Stephen Kelly in Tribune,[20] Harriet Sherwood and Ian Black, Jerusalem correspondent and Middle East editor of The Guardian respectively,[21] and David Chater, previewing the serial for The Times, who called it courageous and applauded its lack of didacticism.[22]

London free newspaper Metro felt that the third episode dragged, having warmly received the first two parts; but then praised the series as a whole.[23] Previewing the final episode, The Times said it was "ambitious" and "packs a considerable punch";[24] Time Out chose the programme as its pick of the day, and gave it a four-star recommendation, calling it "brave filmmaking and a brave, entirely successful commission".[25] Andrew Anthony in The Observer acknowledged some flaws, but found it still "an exceptional drama".[26]

A press attaché at the Israeli embassy in London, however, condemned the drama to The Jewish Chronicle as the worst example of anti-Israel propaganda he had ever seen on television, saying it "created a new category of hostility towards Israel".[27] The Zionist Federation and the Board of Deputies of British Jews both also lodged letters of complaint.[28] The Jewish Chronicle itself took the view that rather than "attempt to tell both sides of what is a complex and contentious story", the series had turned out to be "a depressing study in how to select historical facts to convey a politically loaded message".[29] Writing in The Independent, novelist Howard Jacobson said that in The Promise "Just about every Palestinian was sympathetic to look at, just about every Jew was not. While most Palestinians might fairly be depicted as living in poor circumstances, most Israeli Jews might not be fairly depicted as living in great wealth... Though I, too, have found Palestinians to be people of immense charm, I could only laugh in derision at The Promise every time another shot of soft-eyed Palestinians followed another shot of hard-faced Jews."[30] In an interview with Jacobson during Jewish Book Week 2011, Jonathan Freedland, having seen the first episode of The Promise, said Kosminsky used antisemitic tropes, misrepresenting Israel and Zionism as being a consequence of the Holocaust, whose imagery he had abused.[31] Historian, Professor David Cesarani, accused Kosminsky of "deceit...massive historical distortion": omitting the Balfour Declaration's promise of a Jewish national home; downplaying selfish British geo-strategy; and exculpating the British, "chief architects of the Palestine tragedy...making responsible...only the Jews"; turning a tricorn conflict of British, Arabs and Jews "into a one-sided rant."[32] On the other hand, Liel Leibovitz, writing for American online Jewish magazine Tablet, took the view that, "contrary to these howls of discontent, the show is a rare and riveting example of telling Israel’s story on screen with accuracy, sensitivity, and courage".[33]

The broadcasting regulator Ofcom received 44 complaints about the series, but Ofcom concluded in a 10-page report that the series did not breach its code of conduct.[34] Viewers complained that the drama, about British Mandate Palestine and its legacy, was antisemitic, used upsetting footage of concentration camps, incited racial hatred, was biased against Israel and presented historical inaccuracies. But, Ofcom said: "Just because some individual Jewish and Israeli characters were portrayed in a negative light does not mean the programme was, or was intended to be, antisemitic... Just as there were Jewish/Israeli characters that could be seen in a negative light, so there were British and Palestinian characters that could also be seen in a negative light."[34][35] Delivering his first keynote speech to the Royal Television Society in London on 23 May 2011, David Abraham, the Chief Executive of Channel 4, said: "At a time when other broadcasters are perhaps more conservative, it's more important than ever for Channel 4 to challenge the status quo, stimulate debate, take risks and be brave... I can think of no better example of how we continue to do that than in Peter Kosminsky's recent examination of the Israel/Palestine question in The Promise."[36]

The Promise was nominated for both the British Academy Television Awards 2011 and the Royal Television Society Programme Awards 2011 in the category of best drama serial,[37][38] but was beaten by two other productions broadcast on Channel 4, the TV adaptation of William Boyd's Any Human Heart and the drama serial Top Boy respectively.[39][40] Interviewed in The Jewish Chronicle, Any Human Heart's director, Michael Samuels, said about The Promise, "I respect it for having a point of view. You have to have that, otherwise you are not writing".[41]

The Promise also received a nomination, at the Banff World Television Festival, for Best Mini-Series of 2010/2011.[42] On 10 May 2011, at the One World Media Awards in London, The Promise won Best Drama of 2010/11.[43]

Frankreich

The subscription channel Canal+ aired the drama under the title The Promise: Le Serment over four weeks starting on 21 March 2011, in a prime-time Monday evening slot that it tends to use for more serious or historical drama series. Libération called it "admirable", praising the "excellent director" for telling a "tragedy in two voices", while "pointing the finger at neither one side nor the other".[44] Les Echos called it "exceptional, stunningly intelligent" and said the considered dialogue and tense, serious acting fully measured up to the ambition of the film.[45] TV magazine Télérama called it "remarkable", confronting its subject "head on".[46] Le Figaro said it was "magnificently filmed and masterfully acted... perfectly balanced... great television", and gave it a maximum rating of four stars out of four.[47] The Nouvel Obs and Le Journal du Dimanche both identified the series as reflecting the viewpoint of the "British pro-Palestinian left", but the latter praised it as "nevertheless a historical fiction useful for understanding an intractable conflict",[48] while the former commended its "epic spirit, rare on television".[49] Le Monde gave the series an enthusiastic preview in its TéléVisions supplement along with a lengthy interview with the director.[50] Le Point predicted Kosminsky would receive a "shower of awards...[a]nd also gibes".[51] However, La Croix's reviewer was more hostile, considering that although there was "no doubt that the film ought to be seen", it "cannot be mistaken for a history lesson but a great partisan fiction", marred by bias and an "embarrassing" representation of Jews.[52] L'Express considered it beautiful but too long.[53]

A letter of protest to the channel was written by the President of the Representative Council of French Jewish Institutions (CRIF), arguing that "the viewer sees the Israeli-Palestinian conflict, however complex, only as a consequence of violence and cruelty of the Jews, who are represented as so extreme that if any empathy towards them is excluded." CRIF did not ask for the broadcast to be pulled, but rather to be balanced with a programme taking a different position, and for the fictional nature of the series to be made clear.[54] The Jewish Chronicle (JC) reported that CRIF president Richard Prasquier had met the president of Canal+, Bertrand Meheut. Prasquier reportedly told him that such a series "could only fan the flames of antisemitic violence" and Meheut reportedly promised that viewers would be provided with balanced information about the issue; The JC reported that Canal+ had agreed to broadcast a caption reading "The Promise is fiction" before each episode.[55] The Confederation of French Jews and Friends of Israel (CJFAI) issued a call (publicised by CRIF) for a demonstration against the programme, which it described as "a vitriolic saga of murderous disinformation".[56] The demonstration in front of the Canal+ offices on the night of the first showing was reported to have attracted a few hundred people, with CRIF represented by its vice-president.[57] The Israeli embassy in Paris made no comment.[58]

Arte has announced it will show the series over two Friday evenings, on 20 and 27 April 2012.

Australien

The serial was shown by Australian broadcaster SBS in a Sunday evening slot from 27 November to 18 December 2011. Critical reaction was positive, with The Australian selecting part one as its pick of the week, calling the character development and performances "compelling", and saying that the series "offers insight into the history of one of the world's most conflicted places",[59] while press agency AAP wrote that "Foy shines amid a powerful storyline", wising up to "a few harsh truths".[60] The Sydney Morning Herald and other Fairfax group newspapers trailed the serial as "ambitious... both bracingly original and wonderfully gripping", offering a "profound veracity".[61] The SMH's Doug Anderson subsequently called the serial "the best drama series on television at present... This is powerful stuff, distilling enormous difficulties to a deeply personal level",[62] and the newspaper selected the series for its review of the best and worst television of the year, writing that it was "gripping... it dazzled via a raw and complex portrait of conflict in the Middle East... Kosminsky's storytelling was mesmerising."[63]

A number of organizations, including the Australia/Israel & Jewish Affairs Council and the Friends of Israel Western Australia, urged viewers to complain about the series, reiterating negative comments that had been made about the serial in the UK.[64] There was also a concerted campaign by Palestinian solidarity groups to drum up support for the series. The editor of the Australians for Palestine website wrote, “Although people had written to SBS commending it for showing “The Promise”, Mr Ebeid [the Managing Director of SBS] received only one supportive letter addressed to him personally from Anisa Hamood in Adelaide. Many more are needed in defence of the series for the hearing.”[65] One senator, Glenn Sterle of Western Australia, also joined criticism about the series, calling it "derogatory" and "anti-Semitic".[66] In January 2012 the most senior body of Jewry in Australia, the Executive Council of Australian Jewry (ECAJ) filed its own 31-page complaint with the SBS television network,[67] claiming that the series "unrelentingly portrays the entire Jewish presence throughout the country, including modern-day Israel, as an act of usurpation by Jews who, without exception, are aliens, predators and thieves and who enforce their usurpation by brutal, racist policies akin to those inflicted by the Nazis upon the Jewish people", and compared the series to the infamous Nazi film Jud Süss.[67] The ECAJ rejected in its complaint the relevance or validity of the British Ofcom inquiry. The ECAJ also called for a halt to sales of the DVD of the series while the complaint is investigated.[68] The ECAJ position was given considerable coverage in the Australian Jewish News which headlined the complaint as "TV series The Promise akin to Nazi propaganda".[69] In contrast, Australians for Palestine has been strongly supportive of the series.[70] On 17 January the language of the ECAJ complaint reached the front page of The Age and the Sydney Morning Herald.[71]

Another opinion expressed by the Australian Jewish Democratic Society stated "We agree with the Executive Council of Australian Jewry (ECAJ) that the Jewish characters portrayed are generally unsympathetic in comparison with the Arab characters. But we fundamentally disagree that this bias amounts to anti-Semitism... in our view The Promise is a worthwhile contribution to the debates about the intractable conflict".[72] Other debate over the series has been carried out, for example, on the online site associated with Australian Broadcasting Corporation's debate programme, The Drum.[73] The Australian Jewish Democratic Society also made available the full text of the OfCom decision as a contribution to open public debate. Prior to this release only parts had been available in the ECAJ submission or in the media [74] because Ofcom had not published it.

The SBS Complaints Committee met on 17 January, and took the view that there were no grounds to find the programme had breached SBS's code. In particular, it found "that the characterisations in The Promise did not cross the threshold into racism, and in particular that it did not promote, endorse, or reinforce inaccurate, demeaning or discriminatory stereotypes". Complainants were advised that they could take their concerns to the Australian Communications and Media Authority for external review.[75] In response to the SBS decision, the ECAJ said that it stood by its position, but would not be appealing SBS's conclusion.[76]

A further complaint was sent to SBS on 1 February 2012 by Stepan Kerkyasharian, Chairperson of the New South Wales government's Community Relations Commission, branding The Promise as "the portrayal of an entire nation in a negative light", noting "concern that the series negatively portrays the WHOLE of the Jewish People. Such a portrayal cannot be justified in ANY context. There is a distinct separation between condemning an action by a government on the one hand and condemning the whole of the people of a nation collectively, through stereotyping, on the other hand." Kerkyasharian urged SBS "to re-consider the representations from the Jewish Community with due regard to the potential destructive consequences of racial stereotyping".[77] In contrast, Hal Wootten, Emeritus Professor of Law at the University of New South Wales and former president of the Indigenous Law Centre there, considered the ECAJ's position to be misguided: "There is a striking irony in a Jewish organisation’s striving to show that every Jewish character is a demon and every Arab character a saint. One by one, the ECAJ’s submission proceeds to do a hatchet job on every Jewish character of any importance, rejecting the humanity with which Kosminsky endows each of them, and substituting an anti-Semitic stereotype of its own manufacture... The ECAJ reaches the opposite conclusion only by itself imputing unfavourable attributes to the Jewish characters, judging them by harsh and unrealistic standards, interpreting their conduct in the worst possible way, and making quite absurd comparisons."[78]

Responding to Professor Wootten, the ECAJ’s Executive Director, Peter Wertheim, stated "Professor Wootten denies that The Promise makes and invites judgements, but this contention is belied by the strident comments made by other defenders of the series in posted comments on the SBS and other websites, and is as low on the scale of credibility as the stream of non-sequiturs that have been put forward in its defence, including posts asserting that The Promise could not possibly be antisemitic because Kosminsky is Jewish, or because it was filmed in Israel and included Jewish actors, or because it was nominated for a BAFTA award." [79]

On 14 February 2012, the Managing Director of SBS, Michael Ebeid, appeared before an Estimates Committee of the Australian Senate and was closely questioned about the relevant commercial arrangements and decision-making processes leading to the screening of the series by SBS.[80] Ebeid accepted that overall the series conveyed a negative view of Israel and said he would not claim that the drama tried to be balanced; but, he said, he did not think that drama is meant to be balanced; and he rejected claims of negative stereotyping.[80] It had not been his decision to buy the series, but asked whether with hindsight he would have made the same decision, he answered that he probably would, yes.[80] Following the hearing, committee members Senator Scott Ryan and Senator Helen Kroger, both of Victoria, both issued press releases sharply critical of the series, and of SBS's decision to run it.[81] Senator Kroger stated that "SBS appears to have put a business decision ahead of independent assessments which determined that it was offensive to the Jewish community." Kroger's comments were taken up by The Australian newspaper,[82] along with an op-ed written by two members of the Australia/Israel and Jewish Affairs Council,[83] and she expanded further on her views in an online piece for News Ltd website The Punch.[84] Senator Ryan rejected Mr Ebeid’s claim that because The Promise was fiction, it was subject to different considerations. "Some of the biggest slanders in history have been works of fiction," Senator Ryan said. "Depictions in the series include Jewish children stoning Arab children, blood-thirsty soldiers, conniving double-agents and members of an extremely wealthy, cosmopolitan family. Like it or not, these three depictions are antisemitic stereotypes that are at the same time old, but also reappearing today." On the other hand, the committee's chairman, Senator Doug Cameron of New South Wales, said he had "enjoyed" the programme, and quipped in closing the session that he hoped the night had helped The Promise's DVD sales.[80]

Andere Länder

As of January 2012 the serial has also been sold to SVT Sweden, YLE Finland, DR Denmark, RUV Iceland, RTV Slovenia, Globosat Brazil, and TVO Canada.[75] DR Denmark broadcast the series in an early evening slot on the DR2 channel over the Easter weekend 2012, under the translated title Løftet som bandt ("The Promise that bound").[85] In Germany it was shown on ARTE Channel on 20 April (Part 1 and 2) an 27 April (Part 3 and 4). In Sweden it will be shown on channel SVT1 on Wednesday nights at 10pm from 2 May.[86] In Canada, TV Ontario had scheduled the programme for Sunday evenings, from 15 April to 6 May; but the channel has since decided to present a geology series with Iain Stewart in this slot, with The Promise held over to a later date.[87]

The series was screened in April 2012 by the Tel Aviv Cinematheque and the Jerusalem Cinematheque in Israel, and in May 2012 by the Haifa Cinematheque, with five showings in the month for each episode in Tel Aviv, two in Jerusalem, and one in Haifa. In Tel Aviv the first screening of Part One was on 9 April, culminating with a final screening of all four parts on 26 April.[88] In Jerusalem the series was scheduled with the four parts shown over two days, on 14/15 and 29/30 April.[89] In Haifa the episodes were screened on successive Thursdays, from 10 May to 21 May.[90]

In the United States a screening of the series was presented at the Jewish Community Center in Manhattan, New York in November and December 2011, with the first part shown as part of the "Other Israel" film festival, and the remainder of the series shown in weekly episodes over the following three weeks.[91]

In May 2012 it was announced that the series would be a featured offering on the internet television service Hulu from 11 August, and it is currently available on demand from Hulu.[92]

Einzelnachweise

  1. ↑ Gelobtes Land (1/4) auf arte.tv
  2. ↑ Interview: Peter Kosminsky In: The Jewish Chronicle Online, vom 3. Februar 2011.
  3. ↑ a b Peter Kosminsky and Hal Vogel, Behind the Scenes: The Promise, Broadcast, 3 February 2011
  4. ↑ DVD commentary, at 04:10
  5. ↑ Series on-screen credits
  6. ↑ DVD featurette: Behind the Scenes – Filming in Israel for 2005, at 00:20
  7. ↑ Peter Kosminsky on The Promise, his drama about Palestine, The Daily Telegraph, 4 February 2011
  8. ↑ DVD commentary, at 1:06:15
  9. ↑ a b Rachel Cooke, Peter Kosminsky: Britain's humiliation in Palestine, The Observer, 23 January 2011
  10. ↑ Peter Kosminsky: Episode 4 Q&A, Channel 4 website, 27 February 2011
  11. ↑ DVD commentary, at 41:00
  12. ↑ DVD commentary, at 36:00
  13. ↑ TV ratings roundups: 6 February 2010, 14 February 2010, 20 February 2010, 27 February 2010, Digital Spy
  14. ↑ a b Tom Sutcliffe, The Weekend's TV, The Independent, 7 February 2011
    John Crace, TV review, The Guardian, 7 February 2011. "It's that rarest of TV beasts: a show that doesn't patronise its audience, (mostly) steers clear of cliches and trusts the characters to tell the story in their own time."
    Andrew Billen, Weekend TV: The Promise, The Times, 7 February 2011. "formidable". (paywalled).
    James Walton, Review, The Daily Telegraph, 7 February 2011. "will richly deserve any gongs that come its way".
    Matt Baylis, "Burning Bush of Genius", Daily Express, 7 February 2011, Page 39; also quoted by Broadcast, 7 February 2011. "This four-parter is a little burning bush of genius in the desert of well-intentioned TV dramas."
    Caitlin Moran, TV column, The Times, 12 February 2010. "almost certainly the best drama of the year". (paywalled).
    James Delingpole, Grandfather's footsteps, The Spectator, 12 February 2011
    Hugh Montogomery, The Promise, Independent on Sunday, 13 February 2011. "[In the 1940s sequences,] Kosminsky balanced the demands of big-picture history and intimate human drama with a quite remarkable assurance. Contrastingly, the modern-day storyline was hobbled by an inertia that seemed at odds with its tumultuous subject matter."
  15. ↑ Andrew Anthony, Rewind TV: The Promise, The Observer, 13 February 2011. Anthony felt it considerably better than Kosminsky's previous dramas and that it "seldom relaxed its grip..a serious, powerful and nuanced drama" but said: "At first there was a stockpile of emotional capital awarded to the Jewish side of the equation, with horrifying footage from Nazi concentration camps setting up the audience's sympathy for the existence of Israel. But a closer look revealed that the scales had been subtly loaded... the problem with the difference in treatment of the two sides is not, as some may claim, that it favours the Arab cause but that it does a disservice to Arabs themselves. We glimpse the psychological complexities of the English observers and their Jewish Israeli hosts, but the Palestinian Arabs are largely ciphers on whom western guilt can be readily projected. They remain, in other words, what critics of orientalism like to call "other". We're not privy to the doubts and conflicts of their beliefs, and consequently as characters they're not quite as worthy of our belief."
  16. ↑ A.A. Gill, It’s not believable – and that’s a huge barrier, The Sunday Times, 13 February 2011. "predictably scant and underwritten"; "performances... occasionally rose to be adequate"; "faint and shrill". (paywalled).
  17. ↑ Andrew Billen, Weekend TV, The Times, 14 February 2011. (paywalled).
  18. ↑ Christina Patterson, Israel needs its friends more than ever, The Independent, 23 February 2011. "It's finely crafted, beautifully shot and extremely well written. It's also extremely balanced."
  19. ↑ Rachel Cooke, The Promise, New Statesman, 17 February 2011. "Ambitious, well-written, superbly acted and expertly made, it is also provocative and challenging".
  20. ↑ Stephen Kelly, Compelling drama is outside comfort zone, Tribune, 25 February 2011. "as good as anything currently showing on British television... beautifully filmed and superbly acted... a multi-layered drama that is both thought-provoking and compelling".
  21. ↑ Harriet Sherwood, The Promise: powerful TV drama at its best, The Guardian website, 7 February 2011. "Vivid, harrowing and utterly compelling... This is a magnificent and powerful piece of drama, television at its best. Watch it if you can; I can't recommend it enough."
    Ian Black, The Promise delivers but still divides, The Guardian website, 14 February 2011. "It's a real achievement that this four-parter is so well-grounded in the history of the world's most intractable conflict."
  22. ↑ David Chater, The Promise: sure to cause controversy, The Times, 5 February 2011. "an ambitious drama on a subject of paramount importance... immensely watchable"
  23. ↑ Rachel Tarley, The Promise was the thinking person's take on the Middle East, Metro, 6 February 2011. "a carefully and beautifully executed film... an incredibly accomplished drama"
    Rachel Tarley, The Promise is not without its flaws but was powerful once again, Metro, 13 February 2011. "Despite these character flaws, this drama is a careful and thorough examination of a patch of British history many viewers will have known very little about".
    Rachel Tarley, The Promise is not being fulfilled, Metro, 21 February 2011. "The excellent pace and tension that this drama boasted in the first few episodes has given way to a lethargic script and almost sloppy plots."
    Keith Watson, The Promise: An epic journey that delivered an uplifting message, Metro, 25 February 2011. "if you stuck to your guns, this intelligent and emotional exploration of the Arab-Israeli conflict in Palestine, a landmine that could blow up at any moment, richly repaid that commitment."
  24. ↑ Sunday’s TV: The Promise, The Times, 27 February 2011. "It is refreshing to see an ambitious drama tackling a subject of such importance." (paywalled).
  25. ↑ Phil Harrison, Pick of the day: The Promise, Time Out (London), 24 February – 2 March 2011, page 127. "... a genuine attempt to demystify, understand and humanise this apparently intractable conflict. Brave filmmaking and a brave, entirely successful commission too."
  26. ↑ Andrew Anthony, Rewind TV, The Observer, 6 March 2011. "The story was stretched still further by strained geographical leaps from Jerusalem to Haifa to Hebron and Gaza, whose only rationale appeared to be to maximise the depiction of Israeli wrongdoing....Nor was it feasible that, having been shot and then held captive in a hole in the ground for weeks, that Erin's grandfather, Sergeant Matthews would still be almost single-handedly carrying out the British army's duties in Palestine. Any more than it was likely that he and a young Arab boy would have walked around the unfolding massacre at Deir Yassin, where 107 Arabs were slaughtered by the Irgun on the eve of Israel's creation, like a pair of sightseers visiting Pompeii. But for all these faults, and the lopsided storytelling, this was still an exceptional drama."
  27. ↑ Marcus Dysch, The Promise has an 'anti-Israel premise', The Jewish Chronicle, 24 February 2011
  28. ↑ Marcus Dysch, Experts: The Promise deliberately demonises Israel, The Jewish Chronicle, 3 March 2011
    'The Promise' - Letter to Channel 4, Board of Deputies of British Jews, 3 March 2011
    ZF response to The Promise, Zionist Federation, 4 March 2011
    David Abraham; Camilla Campbell, Channel 4 response to the Board of Deputies, dated 17 & 18 March; made available 1 April 2011
    Marcus Dysch, Promise critics: Stop moaning, you have Friday Night Dinner, The Jewish Chronicle, 7 April 2011
    Balihar Khalsa, C4 bosses defend Kosminsky drama, Broadcast, 8 April 2011
    Robyn Rosen, Broadcast regulator rejects every complaint on Promise, The Jewish Chronicle, 21 April 2011
  29. ↑ Simon Round, Fatah could have written The Promise, The Jewish Chronicle, 3 March 2011. "Fatah could have written The Promise"; that the ignorant "would infer from [it] that Israelis are impossibly wealthy (portrayed as living in large houses with swimming pools)... Israeli soldiers in the Territories are universally unfeeling and brutal"; only Jews throw stones; pre-state Jewish militias are characterised as "cynical, manipulative and murderous, while the Arabs of the time are portrayed as defenceless and fearful"; in the Mandate period, only Jewish atrocities are depicted "in graphic detail", while contemporary Arab actions and atrocities are largely omitted, the threatened pan-Arab invasion being "dismissed as almost an irrelevance". The Deputy Editor, Jenni Frazer, criticised it in her blog published by the paper, for, inter alia, "the suggestion that all Israeli Jews live in palatial surroundings with swimming pools and four-star views, the generally hateful depiction of anyone on the Israeli or Jewish side compared with the near-angelic rendering of anyone on the Arab or Palestinian side".http://www.thejc.com/blogs/jenni-frazer/under-duvet
  30. ↑ Howard Jacobson, Ludicrous, brainwashed prejudice, The Independent, 23 April 2011
  31. ↑ Howard Jacobson and Jonathan Freedland, Last Words: Howard Jacobson in conversation with Jonathan Freedland, Jewish Book Week, 6 March 2011
  32. ↑ David Cesarani, The Promise: an exercise in British self-exculpation, The Guardian Comment is Free website, 4 March 2011
  33. ↑ Liel Leibovitz, War and Remembrance, Tablet Magazine, 16 March 2011 "The show’s writer and director, Peter Kosminsky, walks this tightrope of evenhandedness remarkably well... To Kosminsky’s credit, nothing and no one in the series is simple, and even the most zealous characters are allowed moments of humanity, a few good arguments in support of their cause, and a few moments of grace."
  34. ↑ a b Ofcom adjudication, Ofcom, April 2011 (made accessible January 2012)
  35. ↑ Robyn Rosen, "Broadcast regulator rejects every complaint on Promise", The Jewish Chronicle, 21 April 2011
  36. ↑ David Abraham's Royal Television Society speech: full text, The Guardian, 24 May 2011
  37. ↑ Bafta TV awards 2011: nominations in full, The Guardian, 26 April 2011
  38. ↑ RTS announces shortlist for the Programme Awards 2011, Royal Television Society, 28 February 2012
  39. ↑ Bafta TV awards 2011: the winners, BBC News, 22 May 2011
  40. ↑ John Plunkett, RTS programme awards: 'extraordinary' night for Channel 4, The Guardian, 21 March 2012
  41. ↑ The director who beat The Promise to a Bafta, Ann Joseph,The Jewish Chronicle, 26 May 2011
  42. ↑ Rockies miniseries noms gather titles from across the globe, Variety, 18 April 2011
    The Fiction Rockies 2011, Banff World Media Festival. Accessed 27 May 2011
  43. ↑ Winners 2011, One World Media. Accessed 27 May 2011. "The jury acknowledges the laudable ambition of taking on this complex, ever-evolving and much debated subject and the difficulty of exploring it in a way which is immediate, undogmatic and surprising, and which explores a multi-generational story through compelling characters. It also bridges two periods in a way which smartly sheds new light on both."
  44. ↑ Isabel Hanne, Double-voiced diary of a Promise kept Vorlage:Fr-icon, Libération, 21 March 2011. "Admirable"... "the art of The Promise is in its ambiguity, its double-valuedness, its lack of Manicheanism"... "The excellent director... points a finger neither at one camp nor the other, but tells a story of two paths, a tragedy in two voices"
  45. ↑ Thierry Gandillot, The Promise keeps its promises Vorlage:Fr-icon, Les Echos, 21 March 2011. "Exceptional, stunningly intelligent"... the serious acting and considered dialogue "measure up to the ambition of this film, which does not bring unanimity but makes a proof of sincerity."
  46. ↑ Sophie Bourdais, From one occupation to another Vorlage:Fr-icon, Télérama, 22 March 2011. "Confronts the subject head-on, a remarkable mini-series in four episodes"... "unless you are already bristling with certainty, you come out of The Promise with far more questions than answers".
  47. ↑ Muriel Frat, Sense and Sensibility in Palestine Vorlage:Fr-icon, Le Figaro, 21 March 2011; p. 50 "magnificently filmed and masterfully acted... treatment of the Israeli-Palestinian conflict is perfectly balanced, by no means the least quality in this novel-like fiction. Great television." (Rating: four stars out of four – excellent).
  48. ↑ Éric Mandel, To the roots of the Israeli-Palestinian conflict Vorlage:Fr-icon, Le Journal du Dimanche, 19 March 2011. Mandel describes Kosminsky's body of work as combining "epic spirit with historical and journalistic rigour to deal with the conflicts of our time". On this series, he writes: "Historians will point out some simplifications... Others may complain of political bias towards the view of the English pro-Palestinian left. Nevertheless Kominsky [sic] delivers a historical fiction useful for understanding an intractable conflict".
  49. ↑ Cécile Deffontaines, The Promise : le serment Vorlage:Fr-icon, Le Nouvel Observateur. "The point of view is that of someone from the British pro-Palestinian left, and should be seen as such", but it looks beautiful [est une très belle fresque], and "has an epic spirit rare on television".
  50. ↑ Referenzfehler: Ungültiges <ref>-Tag; kein Text angegeben für Einzelnachweis mit dem Namen LeMonde.
  51. ↑ Emmanuel Berretta, Canal+: Israel, the painful saga Vorlage:Fr-icon, Le Point, 17 March 2011. "Kosminsky is adamant that he is refusing to judge the situation, but what he shows of the blood-soaked birth of Israel and the treatment of the Palestinians today is, for Israel, overwhelming. One is left by The Promise profoundly affected by the journey, the ambiguities of the characters, often torn between two loyalties. A shower of awards is to be expected for Kosminsky. And also gibes."
  52. ↑ Laurent Larcher, Le serment: an ambiguous work Vorlage:Fr-icon, La Croix, 18 March 2011
  53. ↑ Sandra Benedetti, The Promise Vorlage:Fr-icon, L'Express, 21 March 2011
  54. ↑ CRIF denounces an anti-Israeli production broadcast by Canal+ Vorlage:Fr-icon, Conseil Représentatif des Institutions juives de France, 21 March 2011
  55. ↑ Michel Zlotowski, "Police called to Paris The Promise riot", The Jewish Chronicle, 31 March 2011
    Kosminsky has questioned certain details of the JC report, including the implication that any special disclaimer was broadcast.
    CRIF, Meeting with the president of Canal Plus Vorlage:Fr-icon, 28 March 2011
  56. ↑ "saga au vitriol pour une désinformation assassine!": Shocked and Outraged! Europe-Israel and CJFAI call to demonstrate on 21 March at Canal Plus Vorlage:Fr-icon, CRIF, 18 March 2011
  57. ↑ The Promise series: demonstration outside the headquarters of Canal+ Vorlage:Fr-icon, Agence France-Presse via La Croix, 21 March 2011
    Videos: Demonstration in front of Canal+, the various speeches Vorlage:Fr-icon, Europe-Israel website, 24 March 2011
    Jewish organisations call for the withdrawal of The Promise, a Canal+ series Vorlage:Fr-icon, Le Post, 22 March 2011, reporting "a few hundred" (quelques centaines) people attending
    Michel Zlotowski, "Police called to Paris The Promise riot", The Jewish Chronicle, 31 March 2011, reporting 500 people attending
    CRIF and Le Post reported the following speakers, representing a number of major Jewish communal organisations in France: Richard Abitbol, president of the Confederation of Jewish Friends of Israel and France; parliamentarian Claude Goasguen, president of the France-Israel friendship group of the National Assembly of France, who described the series as "a shameful caricature" (une série caricaturale, honteuse); Joel Mergui, president of the Central Consistory; Sammy Ghozlan, president of the Bureau National de Vigilance Contre l'Antisémitsme (BNVCA); Claude Barouch, president of Union des patrons et des professionnels juifs de France (UPJF); and Gil Taieb, vice president of the Fonds social juif unifié
  58. ↑ Jewish organisations call for the withdrawal of The Promise, a Canal+ series Vorlage:Fr-icon, Le Post, 22 March 2011
  59. ↑ Iain Cuthbertson, The best weekend viewing, The Australian, 26 November 2011
  60. ↑ TV Highlights for Sun 27 November, Australian Associated Press, 26 November 2011
  61. ↑ Sacha Molitorisz, The Promise, Sunday, 27 November, Sydney Morning Herald, 27 November 2011. Also carried by The Age [1].
    Cf also: Louise Schwartzkoff, The Promise, Sunday, 4 December, Sydney Morning Herald, 2 December 2011. "As you would expect of a drama that explores the Israeli-Palestinian conflict, The Promise is relentless and full of examples of odious human behaviour. Nevertheless, it is gripping and never underestimates the complexity of its subject. Parallel narratives often result in uneven storytelling but in this case Erin's experiences and her grandfather's are equally compelling."
  62. ↑ Doug Anderson, Sydney Morning Herald, 9 December 2011. Quoted (and critiqued) in blog. [2].
  63. ↑ The Couch Potato Awards, Sydney Morning Herald, 19 December 2011.
  64. ↑ Tzvi Fleischer, "The Promise", Australia/Israel & Jewish Affairs Council, November 2011
    Steve Lieblich, SBS is screening a fictional anti-Israel drama called "The Promise", Friends of Israel Western Australia, December 2012
    Mandate drama isn't very promising, Australian Jewish News, 25 November 2011. Quoted in blog [3].
  65. ↑ http://workersbushtelegraph.com.au/2012/01/04/the-promise/
  66. ↑ Senator slams The Promise, Australian Jewish News, 19 December 2011.
    Glenn Sterle letter of complaint, via Friends of Israel Western Australia
  67. ↑ a b Complaint to the SBS Ombudsman, Executive Council of Australian Jewry, 5 January 2012
  68. ↑ The Promise – the ECAJ voices concern about DVD launch, Jwire, 16 January 2012
  69. ↑ TV series The Promise akin to Nazi propaganda, Australian Jewish News, 13 January 2012
  70. ↑ AFP letter in support of The Promise, Australians for Palestine, 14 December 2012
  71. ↑ Jewish outcry on SBS series, The Age, 17 January 2012. Earlier version SBS fields complaints over series set in Israel. SMH [4].
  72. ↑ Letters in the Melbourne Age concerning the attack on "The Promise" and the SBS network, Australian Jewish Democratic Society website, 18 January 2012
  73. ↑ The Promise: controversy rages, understanding lost, ABC Unleashed, Australian Broadcasting Corporation, 17 January 2012
  74. ↑ What the ECAJ tried to outsmart: the ruling from the UK complaints authority about "The Promise", Australian Jewish Democratic Society website, 18 January 2012
  75. ↑ a b SBS Ombudsman Response to Complaints about The Promise, via Galus Australis, 23 January 2012
    SBS rules that "The Promise" does not vilify Jews or Israelis, JWire, 1 February 2012
  76. ↑ Media release: ‘The Promise’ is racist: ECAJ stands firm, rejects SBS response to complaints, Executive Council of Australian Jewry, 1 February 2012
    SBS rules that "The Promise" does not vilify Jews or Israelis, JWire, 1 February 2012
    SBS rejects "The Promise" complaint, Australian Jewish News, 2 February 2012
  77. ↑ Letter concerning The Promise, New South Wales Community Relations Commission, 1 February 2012. via ECAJ website
    Community Relations Commission Challenges "The Promise", JWire, 3 February 2012
  78. ↑ Hal Wootten, Much too promised land, Inside Story, Swinburne University of Technology, 13 February 2012
  79. ↑ Peter Wertheim, Racism Woven into Shifting Sympathies, comment at Inside Story, Swinburne University of Technology, 15 March 2012, with link to detailed response at http://www.ecaj.org.au/news_files/120312_wootten.pdf
  80. ↑ a b c d Transcript, Environment and Communications Legislation Committee, Australian Senate, 14 February 2012
  81. ↑ Scott Ryan, Senators question SBS Programming, Press release, 14 February 2012
    Helen Kroger, SBS knew the promise was offensive to the Jewish community, Press release, 14 February 2012
  82. ↑ Christian Kerr, SBS knew Israel drama would offend Jews, Lib senators insist, The Australian, 16 February 2012; Copy via Australians for Palestine
  83. ↑ Jamie Hyams and Tzvi Fletcher, Angelic Arabs and murderous Jews add up to televisual propaganda, The Australian, 16 February 2012; Copy via AIJAC
  84. ↑ Senator Helen Kroger, SBS shouldn’t be allowed to re-write history, The Punch, 17 February 2012
  85. ↑ DR2 Denmark schedule: Part 1, Thursday 5 April, 5pm; part 2, Saturday 7 April, 5pm; part 3, Sunday 8 April, 4:40pm; part 4, Monday 9 April, 5pm Vorlage:Da icon
  86. ↑ SVT1 Sweden schedule: Part 1, Wednesday 2 May, 10pm; part 2, Wednesday 9 May, 10pm Vorlage:Sv icon
  87. ↑ TVO scheduling change; TVO response to a query about the scheduling change, 4 April 2012
  88. ↑ THE PROMISE Part 1, Tel Aviv Cinematheque, schedule for 9 April 2012. Vorlage:He icon
  89. ↑ The Promise, Jerusalem Cinematheque schedule. Accessed 2012-04-12. Copy of full schedule also at Scribd.
  90. ↑ May 2012 Program, Haifa Cinematheque via www.haifacity.com
  91. ↑ Nora Lee Mandel, The Other Israel Festival 2011, Film Forward, 21 November 2011
    Carly Silver, Moving pictures of the 'Other Israel', New Voices, 21 November 2011
    Marissa Gaines, The Promise, at the Other Israel Film Fest, Asks: How Did We Get Here?, L Magazine, 15 November 2011
    Chisda Magid, The Promise: Considering Israel and Its Myth of Origins, Tikkun Daily, 21 November 2011
  92. ↑ Kristin Brzoznowski, eOne's The Yard & Mentorn's The Promise Land on Hulu Slate, TV USA.ws, worldscreen.com
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