Movie Review: “Between the Temples”

Plot and Performances:

The story revolves around Ben Gottlieb (Jason Schwartzman), a cantor who, after the sudden and tragic death of his wife, finds himself unable to sing—a poignant metaphor for his loss of faith and direction in life. Ben, who works at a synagogue in upstate New York, is now back living with his mother, Meira (Caroline Aaron), and her well-intentioned but meddlesome wife, Judith (Dolly de Leon). The film opens with a scene that sets the tone for the disarray in Ben’s life: his mother sets him up on a date with a young woman who is a doctor, but Ben, lost in his grief, mistakes her for a therapist. When he learns she’s a plastic surgeon, he humorously yet pitifully asks his mother, “Do you think I need work done?”

This comedic yet deeply sorrowful moment is emblematic of Ben’s current state-out of touch with himself and the world around him. His attempts to re-engage with life are equally hapless, as seen when he listlessly attends a service at the synagogue, only to walk outside and lay down in traffic in a moment of despair. After a bar brawl leaves him battered, Ben is picked up by Carla (Carol Kane), a woman who, after performing karaoke, helps him through his drunken stupor. It isn’t until later that they realize Carla was Ben’s music teacher in elementary school, leading to her exclamation of “Little Benny!” when the memory clicks.

From here, the plot thickens as Carla appears at the synagogue with an unusual request: she wants to have a bat mitzvah, a Jewish coming-of-age ceremony traditionally reserved for girls in their early teens. Despite his initial reluctance, Ben eventually agrees to help her prepare. As they spend more time together, they discover they are kindred spirits, both navigating the complexities of loss and the search for meaning. Their relationship, while not necessarily romantic, is deep and multifaceted, driven by their mutual need for connection and healing.

Direction and Style:

Nathan Silver’s direction in “Between the Temples” is delightfully unconventional, employing a loose, improvisational style that gives the film a sense of spontaneity and authenticity. Shot on 16mm by cinematographer Sean Price Williams, the movie’s visual aesthetic is intentionally rough around the edges, with a grainy texture that adds to its raw, unfiltered feel. This choice in cinematography complements the film’s narrative style, which is equally erratic and unpredictable.

The movie’s structure is akin to a dance that teeters on the brink of falling apart at any moment, yet somehow manages to maintain its rhythm. Scenes unfold with a sense of organized chaos, where the dialogue and action seem almost on the verge of unraveling, only to come together in a way that feels both natural and deeply satisfying. This approach mirrors the internal states of the characters, particularly Ben, whose life is in disarray as he struggles to find meaning after his wife’s death.

Silver’s script, co-written with C. Mason Wells, is sharp and filled with witty, often surreal dialogue that elevates the film’s comedic and emotional stakes. The scenes between Ben and Carla, in particular, are masterfully written, with their exchanges ranging from laugh-out-loud funny to deeply poignant. Their conversations touch on themes of mortality, faith, and the absurdity of life, all while maintaining a lighthearted tone that never feels heavy-handed.

Themes and Tone:

At its core, “Between the Temples” is a film about the search for faith and meaning in the face of profound loss. While Judaism and the Torah serve as important backdrops to Ben and Carla’s journey, their connection transcends religious boundaries, rooted instead in their shared experiences of grief and their mutual desire to find solace in one another. The film explores the idea that faith can be a deeply personal and often unconventional journey, one that is not necessarily tied to traditional religious practices.

The movie’s tone is playful and whimsical, with moments of surrealism and absurdity that add to its charm. One of the film’s most memorable scenes takes place at a steakhouse, where Carla’s skeptical son and his family are confronted with hilariously oversized menus—a moment that feels like a nod to the comedic sensibilities of directors like Elaine May. This blend of the surreal with the mundane is a hallmark of Silver’s directorial style, and it works brilliantly here, keeping the audience engaged and entertained throughout.

Despite its lighthearted tone, the film never shies away from exploring deeper, more serious themes. Ben’s struggle to regain his singing voice is symbolic of his larger quest to reclaim his faith and sense of purpose. Carla, on the other hand, is navigating her own path through grief, seeking to redefine herself in the wake of her husband’s death. Together, they form an unlikely yet deeply meaningful bond that helps them both find a way forward.

“Between the Temples” is a beautifully chaotic and profoundly moving film that showcases the best of both Jason Schwartzman and Carol Kane’s talents. Their performances are the beating heart of the movie, driving the narrative with a blend of humor, pathos, and undeniable chemistry. Nathan Silver’s direction, with its improvisational style and loose structure, perfectly complements the film’s themes of grief, faith, and the unpredictability of life.

This film is a testament to the magic that can happen when a director embraces chaos rather than trying to control it. With its unpredictable narrative, sharp dialogue, and unforgettable performances, “Between the Temples” is a must-see for anyone who appreciates films that defy convention while delivering an emotional punch. Rated R for language and some sexual references, this 111-minute film is a delightful exploration of the human spirit, wrapped in a package that is as quirky as it is heartfelt.