The best films are personal. Their merit isn’t found in large budgets and high concepts, but in how well they resonate with their audience. The best directors can take elements from their own experiences and make them relate universally. Such is the case with director Oren Peleg and his short film The Big Bris (2011).
Casey Adler stars as Moishe “Mo” Greenbaum, an aspiring stand-up comedian tired of performing at birthday parties and small venues. Mo is overjoyed when best friend Andoni (Andoni Zorbas) announces that he booked him a gig at the prestigious Rushmore comedy club. Mo’s strict parents (James Eckhouse and Ellen Bry) eagerly schedule Mo’s recircumcision ceremony for the same night as his performance at the Rushmore, leaving Mo with the choice between honoring tradition and taking a career opportunity that could change his life.
In film school, where trite storylines and underdeveloped characters run rampant, Peleg has found a niche that sets him apart. The Big Bris is Peleg’s third short film, following his Barely Bar Mitzvah’d (2009) and Judea Capta (2010). His stories often place prominence on the Jewish faith of his characters, without ever becoming overbearing or preachy. “I definitely try to make [them] universal and appeal to a mass audience. The characters are Jewish, but hopefully the themes reach broader than that,” says Peleg. And they definitely do: the heart of The Big Bris lies in Mo’s struggle to find an identity for himself despite the conflicting (and very vocal) views of his parents and friends. While many of the jokes and references are more familiar to Jewish eyes and ears, they translate well with any audience while giving Peleg and his characters a distinctive voice.
The recognizeable talents of Hollywood veterans Eckhouse (CSI, Beverly Hills 90210) and Bry (St. Elsewhere, Boston Legal) mesh nicely with promising newcomers Adler and Zorbas. Adler wrote most of Mo’s stand-up himself, and it shows: he doesn’t just spit out the jokes, he feels them. The viewer instantly accepts the Greenbaums as a real family. Even if his parents don’t approve of Mo’s comedic aspirations (“You’re Jewish first. Everything is second after that,” his father says), it’s apparent that everything they do is out of love.
Editor Niv Brook’s quick cuts keep the pace of the film moving smoothly. This is most noticeable in the scene in which the Greenbaums and the rabbi discuss Mo’s recircumcision. Brook cuts rapidly between each character, enhancing the absurdity of the situation. Cinematography by Taylor Mahony subtly underscores the content of the story; a steady, fixed camera and warm lighting are used for the house scenes, while a moving camera and harsh lighting give the comedy club a gritty, constrained feel. Catherine McGourty’s sound design is detailed and flawless – another rare component in student films.
What sets The Big Bris apart from other student films is that it doesn’t try to save the world. Peleg didn’t set out to change lives, or deal with heavy, monumental themes. His film tells a simple story about a normal family – much like yours – and the true accomplishment is in its ability to simultaneously entertain and touch its viewers.
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