Immigration is the medium through which individuals acquire legal citizens of another nation. Traditionally, the practice of emigration has been extremely beneficial to governments in terms of social, financial, and cultural development. The immigration situation has been extensive and varied, resulting in the creation of multicultural communities in many situations. Many current states are defined by a variety of cultural backgrounds and races developed from prior eras of immigration. This work describes the plot of the film, as well as the problems encountered by the main characters.
Sallah Shabati is a funny movie about the confusion of Israeli migration and absorption in Israel. The title of the film, Sallah Shabati, is a turn of phrase. While it is apparently a Yemenite Jewish appellation, it is also meant to inspire the expression “Sorry I came,” which translates to “sorry me for living” in English (Kishon, 2020). The protagonist was identified as Saadia Shabtai in previous printed books of Kishon’s short fiction, which were altered for the movie. Sallah Shabati, a Mizrahi Jewish migrant, arrives in Israel with his relatives at the start of the film. When he arrives, he is sent to a ma’abara, or relocation site. He is given a run-down one-room shanty to live in with his relatives and passes the entire movie seeking to save enough funds to buy a decent home. His cash plans are usually amusing and parody social and political clichés in Israel at the time.
Sallah Shabbati and his ilk are an interesting, amusing, and frequently colorful bunch, but their wit is essentially elementary. Sallah, an independent thinker, outsmarts the attempts of very well but untrustworthy Israelis to coerce him out of his traditions of not functioning and into communal cooperative endeavors. Sallah prefers to play sheshbesh, an Oriental form of backgammon, where he earns a pittance or spends time in various ways. His child Haboobah adores Ziggi, the young and gorgeous kibbutz leader, but Sallah claims the overweight cab driver is giving her 800 pounds (Kishon, 2020). This renders him more suitable in accordance with Sallah’s old teachings. Shimmon, Sallah’s son, is infatuated with Bathsheba, another kibbutznik, but that will not be enough in Sallah’s eyes. Then there are the external chores, such as transferring a cupboard owned by a prominent kibbutz member to his house, which generates a slew of nearly full disputes between Sallah and his boss, Neuman. Furthermore, there is the possibility of earning a pound or more by participating in a municipal election many times.
To summarize, Sallah Shabbati and his compatriots are a fascinating, entertaining, and sometimes colorful group, but their humor is fundamentally simple. His spending plans are generally funny since they mock social and political clichés prevalent in Israel at the time. The number of immigrants has always been enormously advantageous to countries in terms of economic, economic, and artistic growth. Sallah’s worldview is diametrically opposite to that of the kibbutz, not only in terms of community control of everything and the benefit of the collective over the well of the person, but also in terms of his ancient Sephardic traditions against the kibbutz’s contemporary Israeli traditions. Many moviegoers and commentators were outraged by Sallah Shabati’s irreverent and insulting representation of fundamental Zionist institutions such as the kibbutz.
Reference
Kishon E. (1964). Sallah Shabati [Film].