This post first appeared at the Commentary blog on November 24.
Censored Voices, the manipulative documentary film by Israeli director Mor Loushy on the Six-Day War, had its U.S. theatrical release last Friday. It’s now playing in Manhattan and Bethesda, Maryland, and it will open in Los Angeles this weekend. Loushy, it will be recalled, resurrects conversations among Israeli soldiers recorded in the immediate aftermath of the Six-Day War. Some of these testimonies were published a short time later in a book called Soldiers’ Talk. But Loushy retrieved material which had been omitted from Soldiers’ Talk—according to her, by order of the Israeli military censor, partly because the soldiers discussed Israeli war crimes. These weren’t just a few redlined paragraphs: the censor, Loushy alleges, cut seventy percent of the original testimonies.
As I showed at Mosaic Magazine over the summer, this quantified claim is entirely bogus. It’s an out-of-thin-air “statistic” that seems to have been fabricated in order to boost the marketing of the film. And it still works. See, for example, the latest review by film critic Daniel M. Gold in the New York Times: “The Israeli military permitted only about 30 percent of the material to be published then.” What’s the evidence for this claim, aside from the bald assertion of the filmmakers? None whatsoever. I won’t repeat my forensic analysis of who did censor the voices—go to my Mosaic piece for the full story. It matters because the relentless repetition of this mythical number is exemplary of the filmmaker’s propensity for elision and distortion in her spin of the Six-Day War itself.
Now that the film is out, I want to pose a different question. Was Censored Voices, the film now on the American big screen, censored by the Israeli military censor? Loushy suggested as much to New York Times correspondent Judi Rudoren, who reported on the film in a news piece back in January, after the film premiered at the Sundance film festival:
She [Loushy] was deep into the project before she discovered that the film, too, would be subject to censorship, she said.
Israel forbids the filmmakers to reveal how much they were forced to change, and the military censor’s office refused to discuss it.
“For us as a society to mend and to improve ourselves, we can’t censor,” Ms. Loushy said. “I think it’s important that we look the truth in the eyes.”
Rudoren’s wording suggested that the censor had indeed “forced” changes; the only question was “how much,” and that couldn’t be known because Loushy was gagged and the censor wouldn’t talk. Critics of Israel immediately seized upon this passage to claim that Israel was still censoring some of the same voices it had allegedly censored nearly fifty years ago. At the anti-Israel website Mondoweiss, far-left academic Stephen R. Shalom wrote this:
Rudoren’s article also provides the significant information that even Censored Voices was censored and hence doesn’t tell the full story of the war crimes that occurred: “Israel forbids the filmmakers to reveal how much they were forced to change, and the military censor’s office refused to discuss it.”
Loushy’s next reference to censorship of her film came in a March interview:
Unfortunately, I had to submit my film to the censorship, like all filmmakers in Israel. Luckily it was only minimally censored. Maybe Israeli censorship has become much more liberal since 1967.
According to Loushy, then, the “much more liberal” censor still had compelled her to take some small amount of material out of the film. In some way, however “minimal,” Israel continued to silence voices.
So it stood until this fall, when Loushy began to talk about her encounter with the censor. In an October interview at a London film festival, she said that she couldn’t say much about it, but “the film wasn’t censored at all, eventually” (here at minute 3:00). Then this month, at another film festival in New York, she gave a fuller account. Setting aside the unverifiable details in her dramatic telling, the bottom line was this: “Eventually, the film was not censored at all” (here at minute 19:00). Not only did the film make it past the censor with no changes. According to Loushy, this outcome was settled before the Sundance premiere—and, so, before Rudoren’s article appeared.
If so, then why did Loushy lead Rudoren to believe that the censor might have “forced” changes in the film? (That prompted Rudoren to put in a query to the censor.) And why did Loushy say, in a subsequent interview, that the film had been censored, “minimally”? Why has she not consistently repeated this simple sentence: “The film was not censored at all”? I haven’t an answer to these questions.
I do know that the notion of Israel as the ever-vigilant censor, forever “silencing” voices, is the convenient bogeyman of Censored Voices. Israel censored then, and it censors now. But in truth, both then (as I showed in my long piece) and even more so now (as Loushy admits), censorship in Israel isn’t a diktat, it’s a negotiation. If you’re savvy and pushy, and don’t traffic in military secrets or classified information, you can get nearly everything approved (the case of Soldiers’ Talk, the book), or even the whole thing approved (the case of Censored Voices, the film).
Despite the doubts that envelope this film, it keeps marching on. Reviews in the American Jewish press have been admiring, and Jewish reviewers have gushed enthusiastically in the Washington Post (“an essential documentary”) and the New York Times (“an essential amendment to the historical record”). All of which is more proof that liberal American Jews remain vulnerable to bedtime stories of Israeli misdeeds and cover-ups, provided they’re accompanied by we-have-sinned chest thumping and end-the-occupation agitprop.
Censored Voices has qualified for the big field in the running for an Oscar. Stay tuned.