
Usually when I see one of those doctored-up American "feel good" pieces about the peace that must co-exist between Palestinians and Israelis, or the "Peace School" or "Seeds of Peace" programs that are intended to bring the children or even adults together through understanding, dialogue, love, and a basket of warm fuzzies, I want to puke my guts out. I detest these sorts of programs because they achieve nothing but a propagation of the misunderstanding in the West about this conflicted region, mainly because they refuse to examine the source of the conflict and instead offer up trite solutions that do not even skim the surface of the real problem. It is like putting a band-aid on a wound made with a machete. I have tried to talk to my non-Muslim friends and family time after time about what is really going on, but I usually get that "oh you've fallen for the axis-of-evil Muslim propaganda" blank stare.
No, folks, I haven't.
Finally, something real ! Yesterday, Al-Jazeera English channel's documentary showcase Witness featured the documentary Another Road Home, made by Danae Elon, an Israeli-born citizen who lives in New York. Danae is the daughter of Amos Elon, an Austrian-born Israeli writer, speaker, and political activist.
When I turned it on, I did not fully understand the emotional roller coaster I was about to ride. Another Road Home is the story of the director, Danae, and her family's relationship with the Obeidallah family from Battir, near Bethlehem.
Mahmoud Musa Obeidallah, Palestinian, worked for the Elon family, Israeli. He took care of their home and land, leaving his own home in the village of Battir every day for up to eighteen hours to work for the Elons and provide a life for his wife and eleven children. Mahmoud preferred for the Elon family to call him "Musa," his father's name, because the Israelis typically pronounce the "ha" as a "kha," and he thought "Musa" would be easier for them to say. Musa spent every day of Danae's life with her, in her home, preparing her food, caring for her needs, and being, in essence, her father.
The last time Danae had seen Musa was in 1991 when she left Israel and moved to New York. She knew that Musa had sent all eight of his sons to the U.S. to be educated, and she knew they were living in Paterson, New Jersey. So she set out to find the sons and hopefully contact their father.
What amazed me was the warmth with which the sons greeted Danae when she found them. In one scene, one of the sons speaks candidly with Danae about how he used to feel seeing his father leave Battir each day to go spend long hours in her home, spending more time with her than with any of Musa's own children. He understood, however, that his father made those sacrifices so that he could give his children a way out of a hopeless situation. He succeeded. Here were eight boys who were successful, contributing members of society, and whose love for their father knew no end. I swear it made me want to go out and have an army of sons. These are the fruits of sacrifice, when grown men weep at the thought of their father's love and commitment to the family.
Selflessness.
Danae, throughout most of the film, is quiet and profoundly sad. I think the entire point of the film is that she wants to discover the root of her sadness, but cannot. Danae and her mother and father are examples of those enlightened Israelis who see the hypocrisy and terror as being Israeli-born, unlike the majority of the West. Her father, Amos, at one point said something that I will never forget. On speaking with Palestinians, he says, "I cannot be around them often. I always feel I am in pain when I am with them. I am in pain because I know they are right."
Danae and her father have another exchange where she asks him how it felt for this man, Musa, to have been more of a father to her than her own father. "I was in the house, too," he tells her. "Yes, but you had no tolerance for children, no tolerance for me," she tells him. Her father agrees. Musa was the one who had showed Danae patience and tolerance.
Musa is able to come to Paterson to see Danae and his sons. He embarks on a four-day journey, having to travel first to Amman because as a Palestinian he cannot fly out of the Israeli airport. Musa is 76 years old and frail. He arrives in New Jersey in the middle of cold and rain, but nothing can describe the emotions displayed when he is reunited with his sons. At the airport, Danae asks him why he went to so much trouble to try to come for a visit. He says, quietly and sincerely, "I came here for you."
As all Israeli men and women must, Danae had to serve two compulsory years in the Israeli army. Musa ironed her uniform every day. She asks him how that must have made him feel, to iron her army fatigues, and he says, "I did not think of it as the army. I was doing it for you." She tells him that it bothers her, it troubles her, how he had to iron it. He tells her, "Just take it off, just take it off," meaning, "Just take the heaviness off of your heart."
This film is a human story, not a fluffed up heart warmer. The oppressed are forever forgiving the oppressors, and Musa exemplifies this. However, this film demonstrates that somewhere, the oppressors do have a conscience, and the guilt can run deeply enough to not give them rest.
Ya Allah, do not give them rest.




