The pull between doing what is expected of you and what is desired by you is one of the fundamental struggles we face as human beings. There is a significant lack of empathy in most parts of the world, leaving those resigned to the path of least resistance to dwindle in a swirl of dissatisfaction. Yet, every now and then, something comes along that makes the difficult option the only option you can imagine for yourself. In Nathan Silver’s latest dramedy Between The Temples, two characters are at an impasse in their lives. Each holds an underlying pain from their past, yet together they take steps toward a brighter future that makes sense to no one but themselves. Bravery is not often associated with embracing the chance to be happy, but the beauty that radiates from this film shows that it is a more valuable commodity than many give it credit.
Ben Gottlieb (Jason Schwartzman, Asteroid City) is at one of his lowest places when we first meet him. The cantor at Temple Sinai in upstate New York has lost his voice, and the entire congregation is trying to look past it – Rabbi Bruce (Robert Smigel, TV Funhouse) relishes the chance to fill in despite no observable talent for the vocation. Ben’s vocal malady is not medical but rather mental; it has not been terribly long since the accidental death of his wife, and he has left his home to move back in with his mother, Meira (Caroline Aaron, The Marvelous Mrs. Maisel), and stepmother, Judith (Dolly De Leon, Triangle of Sadness). The latter is concerned about Ben worrying his mother, which translates into her insistence on playing matchmaker to a despondent Ben. He would rather lie down in the road and wait for it all to end, which thankfully fails miserably.
Carla Kessler (Carol Kane, Scrooged) is also a widower, but she is quite a bit older than Ben and happens to be his former elementary school music teacher. Carla was recently forced into retirement, and for the first time in her life, she is advocating for her needs and wants—namely, a bat mitzvah. The unexpected reunion between her and Ben later in life is not under ideal circumstances, but it is enough to put Ben on her path. The concept of an older woman having a bat mitzvah could be played for tasteless jokes, and Ben prefers to treat it like one when he is first asked to teach her. Yet, when you hear how much this means to her and why, there is very little that compares to the emotional wallop that ensues.
The connection between Ben and Carla is something truly soul-enriching. A pivotal scene earlier in the film finds Carla recounting a pivotal birthday memory and asking Ben to repeat her story back to her. Carol Kane reminds you why she is one of the best as you see the heartbreaking realization that she is sincerely being heard for the first time in a long time. Schwartzman complements her beautifully as he is stirred out of his grief for a brief moment to connect with this woman. The development of this dynamic is one of the reasons we still believe in movie magic.
Of course, this takes us back to the notion of expectations. Judith is heavily invested in the temple, perhaps overly so to make up for the fact that she converted later in life, which extends to her son. In her mind, it only makes sense that she would set up Ben with the rabbi’s daughter, Gabby (Madeline Weinstein), the only person who may be more out of sorts than Ben in this story. This struggling actor has an energy that brings forth some of the film’s funniest moments while still managing to move you deeply. Judith does not know what to do with the presence of Carla, something that is echoed by Carla’s son, Nat (Matthew Shear), concerning Ben. Like his father before him, Nat is an atheist who expresses his dissatisfaction over his mom’s choice to pursue a bat mitzvah. Both of these main characters are up against the ropes when it comes to living for other people.
For all of this talk of familial strife and deeply emotional moments, it is necessary to underline how genuinely funny the movie can be. Carla is like a whirling dervish throughout much of the story as she brings a screwball comedy energy to the proceedings with Schwartzman playing the beleaguered counterpart in need of some loosening up to perfection. Carla’s inconsistency with adhering to typical Jewish customs also brings forth some hearty laughs. It is a matter of balance, and this narrative keeps the tone nimble as moments draw from the full spectrum of the human experience. Even the emotions within a single moment can be at odds with one another; Carla recorded an album when she was younger before her dreams were squashed, and the act of her playing this for Ben is both the most joyous and heartbreaking moment of the film. To share one’s self with another and have them embrace it without condition is a gift, but the realization that so much of your life was spent making yourself smaller is devastating.
Nathan Silver has crafted a fantastic love story in whatever way you want to define that word. There is undoubtedly a connection between Ben and Carla, but more than that they are spiritual companions. Jason Schwartzman and Carol Kane put forth some of the best performances of their incredible careers. The remainder of the ensemble supports them famously, especially in the highly improvised Shabbat dinner that encapsulates every single element detailed here and filtered through the purposefully invasive photography of Sean Price Williams (The Sweet East) and evokes sweaty palms. Between The Temples is chaotic, hilarious, heartbreaking, and ultimately life-affirming. It may be scary, but it is never too late to advocate for your own happiness.
Between The Temples had its World Premiere in the U.S. Dramatic Competition section of the 2024 Sundance Film Festival.
Director: Nathan Silver
Writers: Nathan Silver, C. Mason Wells
Rated: NR
Runtime: 112m
Between The Temples is chaotic, hilarious, heartbreaking, and ultimately life-affirming. It may be scary, but it is never too late to advocate for your own happiness.
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GVN Rating 9
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Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.