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* ComicBookAdaptation: A graphic novel was released in 2009.
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* HellIsThatNoise: The ungodly wails of a crowd of Lebanese women coming across the aftermath of a massacre site. [[spoiler: [[FromBadToWorse Then it turns out that]] '''those aren't the screams of actors'''.]]
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* HellIsThatNoise: The ungodly wails of a crowd of Lebanese Palestinian women coming across the aftermath of a massacre site. [[spoiler: [[FromBadToWorse Then it turns out that]] '''those aren't the screams of actors'''.]]
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* HellIsThatNoise: The ungodly wails of a crowd of Lebanese women coming across the aftermath of massacre. [[spoiler: [[FromBadToWorse Then it turns out that]] '''those aren't the screams of actors'''.]]
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* HellIsThatNoise: The ungodly wails of a crowd of Lebanese women coming across the aftermath of massacre.a massacre site. [[spoiler: [[FromBadToWorse Then it turns out that]] '''those aren't the screams of actors'''.]]
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* HellIsThatNoise: The ungodly wails of a crowd of Lebanese women coming across the aftermath of massacre. [[spoiler: [[FromBadToWorse Then it turns out that]] '''THOSE AREN'T ACTORS SCREAMING'''.]]
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* HellIsThatNoise: The ungodly wails of a crowd of Lebanese women coming across the aftermath of massacre. [[spoiler: [[FromBadToWorse Then it turns out that]] '''THOSE AREN'T ACTORS SCREAMING'''.'''those aren't the screams of actors'''.]]
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* HellIsThatNoise: The ungodly wails of a crowd of Lebanese women coming across the aftermath of massacre. [[spoiler: [[FromBadToWorse Then it turns out that]] '''THOSE AREN'T ACTORS SCREAMING'''.]]
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not a trope
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* UsefulNotes/AdobeFlash: The film's unique style owes itself to the fact that it was animated by combining adobe flash cutouts and traditional animation.
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* UsefulNotes/AdobeFlash: The film's unique style owes itself to the fact that it was animated by combining adobe flash cutouts and traditional animation.
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* ArtShift: The film abruptly changes to live-action news footage at the end of the film when [[spoiler: Folman comes face to face with his memories of the Sabra and Shatila Massacre. This is a CallBack to earlier in the film when Folman is interviewing the psychologist: Like the soldier that viewed the war as if "through a camera", the film's animated style can be interpreted as representing Folman's dissociation from the events of the war. When he is confronted with the grieving relatives of the massacre's victims, Folman can no longer diminish the reality of the atrocity he is witnessing.]]
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* {{Flashback}}s
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* {{Flashback}}s{{Flashback}}s: Most of the film is comprised of scraped-together memories from veterans of the invasion of Beirut.
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* SecondaryCharacterTitle: President Bashir is referred to but doesn't actually appear in the movie.
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* RepressedMemories: Folman's interviews of fellow veterans is inspired by his own inability to remember his role in the war.
* SecondaryCharacterTitle: President Bashir is referred to but doesn't actually appear in themovie.movie except on posters.
* SecondaryCharacterTitle: President Bashir is referred to but doesn't actually appear in the
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* {{Anticlimax}}: [[spoiler: Near the end of the movie, after the true intention of the Phalangists is discovered, we see how the news of the massacre wanders up the ranks of the IDF. When it finally hits an Israeli officer who cares and takes action, it's already morning. We then see a military jeep driving up to the Phalangists, a man gets out, picks up a bullhorn... and says in a deadpan voice: "Stop the shooting". The Phalangists stop, the surviving refugees return to their destroyed camp, and the man drives off again.]]
to:
* {{Anticlimax}}: {{Anti Climax}}: [[spoiler: Near the end of the movie, after the true intention of the Phalangists is discovered, we see how the news of the massacre wanders up the ranks of the IDF. When it finally hits an Israeli officer who cares and takes action, it's already morning. We then see a military jeep driving up to the Phalangists, a man gets out, picks up a bullhorn... and says in a deadpan voice: "Stop the shooting". The Phalangists stop, the surviving refugees return to their destroyed camp, and the man drives off again.]]
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* BadassIsraeli: Deconstructed/subverted. Pretty much all of the soldiers shown are just scared kids who would rather be back home. Frenkel does have his moments, though.
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* BadassIsraeli: Deconstructed/subverted.{{Deconstructed}}/{{subverted}}. Pretty much all of the soldiers shown are just scared kids who would rather be back home. Frenkel does have his moments, though.
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* WorfEffect: On the IDF, constantly.
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* WorfEffect: TheWorfEffect: On the IDF, constantly.constantly.
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-->'''Folman:'''Whether an eternity or just a minute, there was Frenkel at the junction with bullets flying past him in every direction. Without crossing the junction, I saw him dancing, as if in a trance. He cursed the shooters, like he wanted to stay there forever. As if he wanted to show off his waltz amid the gunfire, with the posters of Bashir above his head."
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* TitleDrop: During a heavy firefight in the streets of Beirut, when Shmuel Frenkel wrestles a gun away from another soldier and charges alone out into the open, firing wildly:
-->'''Folman:'''Whether an eternity or just a minute, there was Frenkel at the junction with bullets flying past him in every direction. Without crossing the junction, I saw him dancing, as if in a trance. He cursed the shooters, like he wanted to stay there forever. As if he wanted to show off his waltz amid the gunfire, with the posters of Bashir above his head."
-->'''Folman:'''Whether an eternity or just a minute, there was Frenkel at the junction with bullets flying past him in every direction. Without crossing the junction, I saw him dancing, as if in a trance. He cursed the shooters, like he wanted to stay there forever. As if he wanted to show off his waltz amid the gunfire, with the posters of Bashir above his head."
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''Waltz with Bashir'' (Hebrew: '''ואלס עם באשיר''' - ''Vals Im Bashir'') is a 2008 Israeli animated documentary film written and directed by Ari Folman. It depicts Folman in search of his lost memories from the 1982 Lebanon War and won numerous awards, including being nominated for the Academy Award for Best Foreign Language Film.
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''Waltz with Bashir'' (Hebrew: '''ואלס עם באשיר''' - ''Vals Im Bashir'') is a 2008 Israeli animated documentary film written and directed by Ari Folman. It depicts Folman [[UsefulNotes/IsraelisWithInfraredMissiles Folman]] in search of his lost memories from the 1982 Lebanon War and won numerous awards, including being nominated for the Academy Award for Best Foreign Language Film.
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* IsraelisWithInfraredMissiles: All the main characters. They are depicted generally as a bunch of kids who don't really know what they're doing or why they're doing it.
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* CruelMercy: Boaz told his superiors that he "could never shoot a human being". So they gave him a silencer and told him to take out their dogs instead. The dogs began to haunt his dreams from that moment on.
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fixed alphabetic order of entries
* BottomlessMagazines: Frenkel, the MAG shooter, doesn't seem to run out of ammunition wile dancing in the street and firing around.
* BugBuzz: During the dead horses scene.
* BugBuzz: During the dead horses scene.
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* BottomlessMagazines: Frenkel, the MAG shooter, doesn't seem to run out of ammunition wile dancing in the street and firing around.
* BugBuzz: During the dead horses scene.
* BugBuzz: During the dead horses scene.
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* DreamIntro: The film opens with a fast-paced and visually dynamic sequence of a pack of dogs tearing through a city. The scene turns out to be the recurring nightmare of a supporting cast member.
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* DayForNight: The nightly army maneuvers are depicted with more natural light than there should have been.
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* HollywoodDarkness: The nightly army maneuvers are depicted with more natural light than there should have been.
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'''''Waltz with Bashir''''' (Hebrew: '''ואלס עם באשיר''' - ''Vals Im Bashir'') is a 2008 Israeli animated documentary film written and directed by Ari Folman. It depicts Folman in search of his lost memories from the 1982 Lebanon War and won numerous awards, including being nominated for the Academy Award for Best Foreign Language Film.
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* SecondaryCharacterTitle: President Bashir is referred to but doesn't actually appear in the movie.
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* SeparateSceneStorytelling: Events, that are being recalled by characters, are shown as animated sequences to avoid too much of TalkingHeads.
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* SeparateSceneStorytelling: Events, that are being recalled by characters, are shown as animated sequences to avoid too much TalkingHeads.
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* TalkingHeads: Largely avoided by replacing people's talk with animated sequences.
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* TalkingHeads: Largely avoided SeparateSceneStorytelling: Events, that are being recalled by replacing people's talk with characters, are shown as animated sequences.sequences to avoid too much TalkingHeads.
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* SurvivorsGuilt: Ronny Dayag, who is the only member of his tank crew to survive
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* SurvivorsGuilt: Ronny Dayag, who is the only member of his tank crew to survivesurvive.
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* WarIsHell: The director stated that he intended to show that war is awful, and to not give the audience any heroic characters to emulate. Indeed, the stories people tell generally reflect poorly on the IDF in general and them in particular
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* WarIsHell: The director stated that he intended to show that war is awful, and to not give the audience any heroic characters to emulate. Indeed, the stories people tell generally reflect poorly on the IDF in general and them in particularparticular.
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!!'Thi film provides examples of:
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* BottomlessMagazines: Frenkel, the MAG shooter, doesn't seem to run out of ammunition wile dancing in the street and firing around.
* BugBuzz: During the dead horses scene.
* BugBuzz: During the dead horses scene.
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* BottomlessMagazines: Frenkel, the MAG shooter, dancing on the street while firing doesn't seem to run out of ammunition.
* BugBuzz: During the dead horses scene.
* BugBuzz: During the dead horses scene.
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* NationalStereotypes: In Netherland you smoke joints at any occation.
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* NationalStereotypes: In Netherland the Netherlands you smoke joints at any occation.occasion.
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!!''Waltz with Bashir'' provides examples of:
to:
* BottomlessMagazines: Frenkel, the MAG shooter, dancing on the street while firing doesn't seem to run out of ammunition.
* BugBuzz: During the dead horses scene.
* DayForNight: The nightly army maneuvers are depicted with more natural light than there should have been.
* BugBuzz: During the dead horses scene.
* DayForNight: The nightly army maneuvers are depicted with more natural light than there should have been.
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* IntrepidReporter: Ron Ben-Yishai
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* IntrepidReporter: Ron Ben-YishaiBen-Yishai.
* NationalStereotypes: In Netherland you smoke joints at any occation.
* TalkingHeads: Largely avoided by replacing people's talk with animated sequences.
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* UnflinchingWalk: Ron Ben-Yishai
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* UnflinchingWalk: Ron Ben-YishaiBen-Yishai.
* VomitIndiscretionShot: Of the seasick soldier on the love boat.
* VomitIndiscretionShot: Of the seasick soldier on the love boat.
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* TrappedBehindEnemyLines: Ronny Dayag [[spoiler: was abandoned by his unit on the battlefield. He hid until nightfall and then swam to safety.]]
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* TrappedBehindEnemyLines: Ronny Dayag [[spoiler: was abandoned by his unit on the battlefield.battlefield by the shore. He hid until nightfall and then swam to safety.]]
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* ApatheticCitizens: At one scene showing a battle between the Israelis and the militants, Lebanese civilians were watching the whole battle from their balconies as if they were just watching a drive-by movie, without caring if they might get shot.
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* ApatheticCitizens: At one scene showing a battle between the Israelis Israeli soldiers and the militants, Lebanese civilians were watching the whole battle from their balconies as if they were just watching a drive-by movie, without caring if they might get shot.
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* EeriePaleSkinnedBrunette: The director presents his ex-girlfriend this way. She dumped him on the same week that he shipped out, and he has visions and dreams of her during his experience at war. The director's wife objected to how pretty she looks in the film.
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* EeriePaleSkinnedBrunette: The director presents his ex-girlfriend this way. She dumped him on the same week that he shipped out, and he has visions and dreams of her during his experience at war. The director's wife objected to how pretty she looks in the film.
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* ADateWithRosiePalms : An officer gives Folman instructions while watching a German porn movie and engaging in this.
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* ADateWithRosiePalms: An officer gives Folman instructions while watching a German porn movie and engaging in this.
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[[quoteright:224:http://static.tvtropes.org/pmwiki/pub/images/Waltz_with_Bashir_Poster.jpg]]
'''''Waltz with Bashir''''' (Hebrew: '''ואלס עם באשיר''' - ''Vals Im Bashir'') is a 2008 Israeli animated documentary film written and directed by Ari Folman. It depicts Folman in search of his lost memories from the 1982 Lebanon War and won numerous awards, including being nominated for the Academy Award for Best Foreign Language Film.
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!!''Waltz with Bashir'' provides examples of:
* ActionHoggingOpening: The film's opening, which follows a pack of dogs tearing through a city, is its most fast-paced and visually dynamic sequence.
* ADateWithRosiePalms : An officer gives Folman instructions while watching a German porn movie and engaging in this.
* AloneInACrowd: Happens to Folman after his first tour in Lebanon to show his alienation from society.
* AngryGuardDog: A soldier must shoot twenty-six dogs because their barking would alert the wanted Palestinians, and the dead dogs begin haunting him some 20 years later.
* {{Anticlimax}}: [[spoiler: Near the end of the movie, after the true intention of the Phalangists is discovered, we see how the news of the massacre wanders up the ranks of the IDF. When it finally hits an Israeli officer who cares and takes action, it's already morning. We then see a military jeep driving up to the Phalangists, a man gets out, picks up a bullhorn... and says in a deadpan voice: "Stop the shooting". The Phalangists stop, the surviving refugees return to their destroyed camp, and the man drives off again.]]
* ApatheticCitizens: At one scene showing a battle between the Israelis and the militants, Lebanese civilians were watching the whole battle from their balconies as if they were just watching a drive-by movie, without caring if they might get shot.
* ATeamFiring: The IDF soldiers that invade Lebanon fire at everything. Not everything that moves. ''Everything''.
* TheAtoner: Folman's story of the search for his lost memories, as well as the very reason he lost them in the first place, is of guilt over whatever happened on the night of the massacre of Sabra and Shatila. [[spoiler: While he didn't directly participate, Folman cannot deal with the guilt of having been one of the Israeli soldiers whose job was to launch flares into the sky above the city- the light from which allowed the Phalangists to commit their atrocities. The "falling stars" from his vision are actually flares.]]
* BadassIsraeli: Deconstructed/subverted. Pretty much all of the soldiers shown are just scared kids who would rather be back home. Frenkel does have his moments, though.
* BadDreams: The film starts with Boaz, Ari Folman's long time friend, recounting a recurring dream in which he is menaced by the dogs he shot during the war.
* BlackComedy: Occasionally. The red car montage sticks out as one example.
** Also, Folman and Boaz remarking that car bombs are "a blast."
* ChildSoldiers: Frenkel tells the director how he and his troop were attacked by a child with an RPG in an orchard and had to shoot him.
* ChurchMilitant: The Phalangists.
* {{Flashback}}s
* HellHound: The twenty-six dogs in the start.
* IntrepidReporter: Ron Ben-Yishai
* IsraelisWithInfraredMissiles: All the main characters. They are depicted generally as a bunch of kids who don't really know what they're doing or why they're doing it.
* MediumBlending: The final scene is real footage of the aftermath.
* EeriePaleSkinnedBrunette: The director presents his ex-girlfriend this way. She dumped him on the same week that he shipped out, and he has visions and dreams of her during his experience at war. The director's wife objected to how pretty she looks in the film.
* ShellShockedVeteran: The Israeli soldiers.
* ShoutOut: [[Film/ApocalypseNow Soldier surfing under fire]].
* SoundtrackDissonance: In a few scenes, the film uses classical music and rocking 80's singles over scenes of war.
** Some of those songs seem to be written specifically about the Lebanon War, however.
* SurvivorsGuilt: Ronny Dayag, who is the only member of his tank crew to survive
* TrappedBehindEnemyLines: Ronny Dayag [[spoiler: was abandoned by his unit on the battlefield. He hid until nightfall and then swam to safety.]]
* TraumaInducedAmnesia: The driving force of the film is the main character's search for his memories of the war.
* UnflinchingWalk: Ron Ben-Yishai
* WarIsHell: The director stated that he intended to show that war is awful, and to not give the audience any heroic characters to emulate. Indeed, the stories people tell generally reflect poorly on the IDF in general and them in particular
* WorfEffect: On the IDF, constantly.
----
'''''Waltz with Bashir''''' (Hebrew: '''ואלס עם באשיר''' - ''Vals Im Bashir'') is a 2008 Israeli animated documentary film written and directed by Ari Folman. It depicts Folman in search of his lost memories from the 1982 Lebanon War and won numerous awards, including being nominated for the Academy Award for Best Foreign Language Film.
-----
!!''Waltz with Bashir'' provides examples of:
* ActionHoggingOpening: The film's opening, which follows a pack of dogs tearing through a city, is its most fast-paced and visually dynamic sequence.
* ADateWithRosiePalms : An officer gives Folman instructions while watching a German porn movie and engaging in this.
* AloneInACrowd: Happens to Folman after his first tour in Lebanon to show his alienation from society.
* AngryGuardDog: A soldier must shoot twenty-six dogs because their barking would alert the wanted Palestinians, and the dead dogs begin haunting him some 20 years later.
* {{Anticlimax}}: [[spoiler: Near the end of the movie, after the true intention of the Phalangists is discovered, we see how the news of the massacre wanders up the ranks of the IDF. When it finally hits an Israeli officer who cares and takes action, it's already morning. We then see a military jeep driving up to the Phalangists, a man gets out, picks up a bullhorn... and says in a deadpan voice: "Stop the shooting". The Phalangists stop, the surviving refugees return to their destroyed camp, and the man drives off again.]]
* ApatheticCitizens: At one scene showing a battle between the Israelis and the militants, Lebanese civilians were watching the whole battle from their balconies as if they were just watching a drive-by movie, without caring if they might get shot.
* ATeamFiring: The IDF soldiers that invade Lebanon fire at everything. Not everything that moves. ''Everything''.
* TheAtoner: Folman's story of the search for his lost memories, as well as the very reason he lost them in the first place, is of guilt over whatever happened on the night of the massacre of Sabra and Shatila. [[spoiler: While he didn't directly participate, Folman cannot deal with the guilt of having been one of the Israeli soldiers whose job was to launch flares into the sky above the city- the light from which allowed the Phalangists to commit their atrocities. The "falling stars" from his vision are actually flares.]]
* BadassIsraeli: Deconstructed/subverted. Pretty much all of the soldiers shown are just scared kids who would rather be back home. Frenkel does have his moments, though.
* BadDreams: The film starts with Boaz, Ari Folman's long time friend, recounting a recurring dream in which he is menaced by the dogs he shot during the war.
* BlackComedy: Occasionally. The red car montage sticks out as one example.
** Also, Folman and Boaz remarking that car bombs are "a blast."
* ChildSoldiers: Frenkel tells the director how he and his troop were attacked by a child with an RPG in an orchard and had to shoot him.
* ChurchMilitant: The Phalangists.
* {{Flashback}}s
* HellHound: The twenty-six dogs in the start.
* IntrepidReporter: Ron Ben-Yishai
* IsraelisWithInfraredMissiles: All the main characters. They are depicted generally as a bunch of kids who don't really know what they're doing or why they're doing it.
* MediumBlending: The final scene is real footage of the aftermath.
* EeriePaleSkinnedBrunette: The director presents his ex-girlfriend this way. She dumped him on the same week that he shipped out, and he has visions and dreams of her during his experience at war. The director's wife objected to how pretty she looks in the film.
* ShellShockedVeteran: The Israeli soldiers.
* ShoutOut: [[Film/ApocalypseNow Soldier surfing under fire]].
* SoundtrackDissonance: In a few scenes, the film uses classical music and rocking 80's singles over scenes of war.
** Some of those songs seem to be written specifically about the Lebanon War, however.
* SurvivorsGuilt: Ronny Dayag, who is the only member of his tank crew to survive
* TrappedBehindEnemyLines: Ronny Dayag [[spoiler: was abandoned by his unit on the battlefield. He hid until nightfall and then swam to safety.]]
* TraumaInducedAmnesia: The driving force of the film is the main character's search for his memories of the war.
* UnflinchingWalk: Ron Ben-Yishai
* WarIsHell: The director stated that he intended to show that war is awful, and to not give the audience any heroic characters to emulate. Indeed, the stories people tell generally reflect poorly on the IDF in general and them in particular
* WorfEffect: On the IDF, constantly.
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