An intriguing fable, James’ Journey to Jerusalem is like a Bible story coming to life from some yet-unpublished modern testament. However, the film’s characters and subjects are not the kind of Israeli exports we’re accustomed to seeing on American screens. James’ Journey is not a movie about Judaism, faith, or Israel’s social and political struggles (at least, not directly). It’s a movie about a Christian pilgrim and chance, temptation, and illusions’ protection. Does God watch over all innocents and protect them from harm, or is life a complete crapshoot, with God as the banker? James (Shibe) travels to Jerusalem at the behest of his Zulu tribe. This young man is to become their pastor, but before he steps into that role his people have sent him on a pilgrimage to the holy city of Jerusalem. All they know of the place is what they have heard from their religious lore and seen pictured in the church tableaux of golden, gleaming temples. James arrives in Israel expecting to find a land of milk and honey, but the bored Tel Aviv immigration officials instead throw him into a prison holding tank, thinking that his naïve questions are some kind of scam. James’ prayers for salvation from jail are answered when he is released into the custody of Shimi (Daw), a businessman who keeps non-Israeli illegals cooped up in a dormitory while exploiting their labor as low-paid janitorial workers and holding on to their passports. His knowledge of some English is what causes Shimi to select James from the prison cell of immigrant humanity. Due to his honesty and integrity, James rises within Shimi’s organization and soon becomes the overseer at the dormitory. Constantly warned by others against becoming a “frayer” (sucker), James is gradually seduced by material goods from his goal of visiting Jerusalem. Lured by the acquisition of cell phones and other modern gadgets, James eventually sets up a black-market operation, trading in human labor along the lines of Shimi’s business model. James also worships at an African church of Christian immigrants, to whom he becomes a big spender and revered leader. The movie becomes an interesting mixture of parable and realism, a challenging goal for this first-time filmmaker and a combination that does not always comfortably work. Shibe’s sweet and engaging face, with its halo of short dreadlocks, is always charming to watch, but it’s hard to fathom what his experience amounts to in the end. Materialism corrupts, and spirituality is placated with Bible-school imagery. James is like some Bressonian Balthazar, a more sentient donkey whose journey on earth has a meaning beyond question. It’s interesting to see this more quotidian aspect of Israel displayed on film, but the parable of James’ Journey to Jerusalem has the sophistication of a Sunday School lesson.
This article appears in May 14 • 2004.
