Director-writer Tzipi Trope's well intentioned docu, "Looking for the Lost Voice," unfortunately proves that it takes more than a family's grief and a plea for peace to make a compelling film. This effort, based on the death of an Israeli army officer and punk band vocalist in a suicide bombing, won't draw many interested viewers.
Director-writer Tzipi Trope’s well intentioned docu, “Looking for the Lost Voice,” unfortunately proves that it takes more than a family’s grief and a plea for peace to make a compelling film. This effort, based on the death of an Israeli army officer and punk band vocalist in a suicide bombing, won’t draw many interested viewers.On Aug. 4, 2002, Omri Goldin, a sergeant in the Israeli army and the lead vocalist for a punk band called Lucy’s Pussy, was killed in a suicide bus bombing in Galilee; his girlfriend was able to survive because Goldin’s body absorbed the shock and shrapnel. Goldin’s father, Amiram, was already involved in the Peace Now movement and the construction of a co-ooperative Palestinian-Israeli industrial complex in Galilee. Omri’s death fueled his passion for peace and stability. Unfortunately, Trope fails to widen the story to make it more than a family’s mourning and a restatement of what ails the Middle East. Amiram Goldin was, apparently, a military man who retired and took his familty to Galilee because he thought it was the Tuscany or Provence of Israel. It didn’t turn out that way. “We were sitting on a barrel of gunpowder” that was about to explode betwen Arabs and Jews, he says, so he got involved with the peace movement. Then his son was killed. How it fails to embitter him is never explored very deeply here. In addition, there are many unanswered questions — Omri’s 53-year-old mother Tilda, for instance, becomes pregnant within months after her son ‘s death. There are also several sequences featuring Lucy’s Pussy. The band’s unremarkable music punctuates the proceedings with incongruous results: Trope’s insistence on showing Omri’s parents’ game but bewildered response to the music adds an unintended pathos.