Israeli Comedy 'American Henna' Criticized as Unfunny and Cliché-Ridden
The Israeli film "American Henna," directed by Shalom Assayag and produced by United King Films, attempts to join the popular "bourekas" comedy genre centered on ethnic and family celebrations, specifically a henna party on a boat in the Sea of Galilee. The plot follows a successful man from Tiberias (Israel Atias) returning from America with his wealthy American fiancée and her conservative parents to celebrate the henna with his warm but culturally clashing family.
Despite embracing its identity as a light, commercial comedy, the film has been widely criticized for relying heavily on worn-out clichés and predictable jokes that fail to entertain or surprise. The humor is described as stale, with stereotypical characters such as the clueless American fiancée, the English-illiterate Tiberias family, and a bumbling cousin responsible for numerous embarrassing moments. The script, written by Danny and Hila Reisfeld, offers no fresh take or meaningful commentary beyond simplistic and transparent messages.
A key scene near the film’s end features Assayag’s character delivering a speech lamenting the emigration of young Israelis, urging them to return and embrace their homeland. However, this message is seen as superficial, lacking depth or exploration of the reasons behind the exodus. The film is perceived as targeting parents and friends of Israelis leaving the country rather than those who actually emigrate.
Compared to other Israeli comedies like "Release Shuli" and "The Celebration," "American Henna" falls short in quality, production values, and comedic impact. It appears hastily made, mostly shot on a single boat over a week, and lacking the promotional push typical of United King’s more successful films. Critics suggest the film is a low-effort commercial product banking on familiar themes and a catchy title to attract audiences during the summer, without offering substantial artistic or cultural value.
"American Henna" exemplifies a trend in Israeli cinema encouraged by current industry reforms favoring commercially viable, politically uncontroversial films, but it also raises questions about the quality and sincerity of such productions.
