Javier Bardem on Gaza: ‘We Cannot Remain Indifferent’ in Call for Hostage Release and Ceasefire

Javier Bardem appears at the 94th Academy Awards nominees luncheon in Los Angeles on March 7, 2022. (AP)
Javier Bardem appears at the 94th Academy Awards nominees luncheon in Los Angeles on March 7, 2022. (AP)
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Javier Bardem on Gaza: ‘We Cannot Remain Indifferent’ in Call for Hostage Release and Ceasefire

Javier Bardem appears at the 94th Academy Awards nominees luncheon in Los Angeles on March 7, 2022. (AP)
Javier Bardem appears at the 94th Academy Awards nominees luncheon in Los Angeles on March 7, 2022. (AP)

Javier Bardem was no longer comfortable being silent on Gaza.

The Spanish actor spoke out about the Israeli-Hamas conflict upon accepting an award at the San Sebastian Film Festival last week. In his nuanced remarks, Bardem condemned the Hamas attacks as well as the "massive punishment that the Palestinian population is enduring."

He called for immediate ceasefire, Hamas’ release of hostages and for Israeli Prime Minister Benjamin Netanyahu and the Hamas leaders — some of whom are now dead — who ordered the Oct. 7 attacks to be judged by the International Criminal Court.

In an interview with The Associated Press, Bardem explained why he chose to speak out.

"I believe that we can and must help bring peace. If we take a different approach, then we will get different results," Bardem told the AP, speaking prior to Iran’s attack on Israel Tuesday. "The security and prosperity of Israel and the health and future of a free Palestine will only be possible through a culture of peace, coexistence and respect."

Israel’s offensive has already killed over 40,000 Palestinians, according to Gaza health officials, displaced the vast majority of Gaza’s 2.3 million residents and destroyed much of the impoverished territory. Palestinian fighters are still holding some 110 hostages captured in the Oct. 7 attack that started the war, in which they killed around 1,200 people, mostly civilians. Around a third of the 110 are already dead, according to Israeli authorities.

The war has drawn sharp divisions in Hollywood over the past year, where public support of Israel or Palestine has provoked backlash and bullying, with accusations of antisemitism and Islamophobia, and cost people jobs. Even silence has had its consequences. The #blockout2024 movement pressured celebrities who hadn’t said anything — or enough — to take a stand.

"Why now?" Bardem said. "Because to continue to stall negotiations and return to the previous status quo, as they say, or as we are seeing now, embark on a race to further violations of international law would be to perpetuate the war and eventually lead us off a cliff."

Bardem stressed that while antisemitism and Islamophobia are real and serious problems in the US, Europe and beyond, that the terms are being used to divert attention away from the "legitimate right to criticize the actions of the Israeli government and of Hamas.

"We’re witnessing crimes against human rights, crimes under international law, such as, for example, the banning of food, water, medicines, electricity, using, as UNICEF says, war against children and the trauma that’s being created for generations," Bardem said. "We cannot remain indifferent to that."

The Oscar-winner, who was born in the Canary Islands, has spoken up on global issues before, signing an open letter calling for peace during a 2014 conflict between Israel and Hamas. He's also an environmental advocate, and spoke to the UN in 2019 about protecting the oceans.

"My mother educated me on the importance of treating all human beings equally, regardless of skin color, ethnicity, religion, nationality, socio and economic status, ability or sexuality," Bardem said. "Actions inform us and that alone interests me about people. That's why I have always been concerned about discrimination of any kind. That includes antisemitism and Islamophobia."

Bardem is married to Penélope Cruz, with whom he shares two children.

He said that beyond a fear that the framework of the Universal Declaration of Human Rights is in danger, he has seen the effects of the conflict up close and the promise of a different approach. Two of his close friends, one Israeli, one Palestinian, both lost daughters to violence years ago and have bonded together in their shared pain and desire to help create positive change.

Those fathers, Bassam Aramin and Rami Elhanan, are members of a nonprofit organization called The Parents Circle Families Forum that emphasizes reconciliation. They wrote a letter that Bardem shared: "What happened to us is like nuclear energy. You can use it for more destruction. Or you can use it to bring light. Losing your daughter is painful in both situations. But we love our life. We want to exist. So we use this pain to support change. To build bridges, not to dig graves."

Bardem added: "That’s what it should be about: Building bridges, not digging graves. That’s why it’s urgent and important."



Movie Review: ‘Saturday Night’ Is Thinly Sketched but Satisfying

 This image released by Sony Pictures shows, from left, Kim Matula, as Jane Curtin, Emily Fairn, as Laraine Newman, Gabriel LaBelle, as Lorne Michaels, Rachel Sennott, as Rosie Shuster, and Matt Wood, as John Belushi. (Hopper Stone/Sony Pictures Entertainment via AP)
This image released by Sony Pictures shows, from left, Kim Matula, as Jane Curtin, Emily Fairn, as Laraine Newman, Gabriel LaBelle, as Lorne Michaels, Rachel Sennott, as Rosie Shuster, and Matt Wood, as John Belushi. (Hopper Stone/Sony Pictures Entertainment via AP)
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Movie Review: ‘Saturday Night’ Is Thinly Sketched but Satisfying

 This image released by Sony Pictures shows, from left, Kim Matula, as Jane Curtin, Emily Fairn, as Laraine Newman, Gabriel LaBelle, as Lorne Michaels, Rachel Sennott, as Rosie Shuster, and Matt Wood, as John Belushi. (Hopper Stone/Sony Pictures Entertainment via AP)
This image released by Sony Pictures shows, from left, Kim Matula, as Jane Curtin, Emily Fairn, as Laraine Newman, Gabriel LaBelle, as Lorne Michaels, Rachel Sennott, as Rosie Shuster, and Matt Wood, as John Belushi. (Hopper Stone/Sony Pictures Entertainment via AP)

We are at the apex of “Saturday Night Live” appreciation. Now entering its 50th year, “SNL” has never been more unquestioned as a bedrock American institution. The many years of cowbells, Californians, mom jeans, Totino’s, unfrozen caveman lawyers and vans down by the river have more than established “SNL” as hallowed late-night ground and a comedy citadel.

So it’s maybe appropriate that Jason Reitman’s big-screen ode, “Saturday Night,” should arrive, amid all of the tributes, to remind of the show’s original revolutionary force. Reitman’s film is set in the 90 minutes leading up to showtime before the first episode aired Oct. 11, 1975.

The atmosphere is hectic. The mood is anxious. And through cigarette smoke and backstage swirl rushes Lorne Michaels (Gabriel LaBelle), who’s trying to launch a new kind of show that even he can’t quite explain.

“Saturday Night,” which opens in theaters Friday and expands in the coming weeks, isn’t a realistic tick-tock of how Michaels did it. And, while it boasts a number of fine performances, I wouldn’t recommend it for anyone hoping to see an illuminating portrait of the original Not Ready for Prime Time Players.

No, Reitman’s movie is striving for a myth of “Saturday Night Live.” Michaels’ quest in the film — and though he never strays farther than around the corner from 30 Rock, it is a quest — is not just to marshal together a live show on this particular night, it’s to overcome a cigar-chomping old guard of network television. (Milton Berle is skulking about, even Johnny Carson phones in.) In their eyes, Michaels is, to paraphrase Ned Beatty in “Network,” meddling with the primal forces of nature.

In mythologizing this generational battle, “Saturday Night” is a blistering barn-burner. In most other ways (cue the Debbie Downer trombone), it’s less good. Reitman, who penned the script with Gil Kenan, is too wide-eyed about the glory days of “SNL” to bring much acute insight to what was happening 50 years ago. And his film may be too spread thin by a clown car’s worth of big personalities. But in the movie’s primary goal, capturing a spirit of revolution that once might have seized barricades but instead flocks to Studio 8H, “Saturday Night” at least deserves a Spartan cheer.

A clock ticking down to showtime runs as ominously as it might in “MacGruber” throughout “Saturday Night.” Nothing is close to ready for air. John Belushi (Matt Wood) hasn’t signed his contract. Twenty-eight gallons of fake blood are missing. And, most pressing of all, the network is poised to air a Carson rerun if things don’t take shape. An executive pleading for a script is told, “It’s not that kind of show.”

What kind is it? Michaels, himself, is uncertain. He’s gathered together a “circus of rejects,” most of them then unknown to the public. There is Gilda Radner (Ella Hunt), Chevy Chase (Cory Michael Smith), Garrett Morris (Lamorne Morris), Jane Curtin (Kim Matula) and Dan Aykroyd (Dylan O’Brien). Also in the mix are Jim Henson (Nicholas Braun), who spends much of the movie complaining about the untoward things the cast has been doing to Big Bird, Andy Kaufman (Braun again), Billy Crystal (Nicholas Podany) and the night’s host, George Carlin (Matthew Rhys).

Most of them pass too quickly to make too much of an impression, though a few are good in their moments — notably Smith, playing up Chase’s braggadocio, O’Brien and Morris. Garrett Morris, the cast’s lone Black member, is in a quandary over his role — because of his race and because he was a playwright before being cast. Though “SNL” was revolutionary, it hardly arrived a finished product. Morris here is a reminder of the show’s sometimes — and ongoing — not always easy relationship to diversity, in race and gender.

It also wasn’t always such a break from what came before. When Chase faces off with Berle in a contest over Chase’s fiancee, Jacqueline Carlin (Kaia Gerber) — one of the movie’s few truly charged scenes — they seem more alike than either would like to admit.

It’s not a great sign for “Saturday Night” how much better the old guard is than the young cast. Along with Simmons’ Berle is Willem Dafoe’s NBC executive David Tebet. He provides the movie its most “Network”-flavored drama, seeing “a prophet” in Michaels and, despite wavering skepticism, urging him to be “an unbending force of seismic disturbance.” Also in the mix — and a reminder that the suits had newbies, too — is Dick Ebersol (a refreshingly genuine Cooper Hoffman), a believer in Michaels but only up to a point.

Ultimately, this is Michaels’ show, and he’s played winningly by LaBelle, the “Fabelmans” star, even if the characterization, like much of “Saturday Night,” is a little thin. Sometimes by his side, as he races to get the show ready is the writer and Michaels’ then-wife, Rosie Shuster (the excellent Rachel Sennott), who you want more of.

It seems to be an unfortunate truth that dramatizations of “Saturday Night Live” inevitably kill it of laughter. That’s true here just as it was in Aaron Sorkin’s “Studio 60 on the Sunset Strip.” The exception to that, of course, is Tina Fey’s “30 Rock,” which was smart enough to abandon all the “SNL” mythology and focus on what’s funny.

This “Saturday Night” may have a legacy of its own; a lot of this cast, I suspect, will be around for a long time. And, ultimately, when the show finally comes together, it’s galvanizing. The cleverest thing about Reitman’s film is that it ends, rousingly, just where “SNL” starts.