{"id":157871,"date":"2024-08-07T11:18:59","date_gmt":"2024-08-07T08:18:59","guid":{"rendered":"https:\/\/blog.nli.org.il\/?p=157871"},"modified":"2025-12-15T15:24:59","modified_gmt":"2025-12-15T13:24:59","slug":"menahem_golan","status":"publish","type":"post","link":"https:\/\/blognli2026.moonsite.co.il\/en\/menahem_golan\/","title":{"rendered":"From “Bourekas Films” to the Israel Prize: Menahem Golan’s Israeli Hollywood Story"},"content":{"rendered":"\n

In 2005\u201306, Menahem Golan, a film mogul in Israel and later in the United States, sat down for a series of lengthy interviews.<\/p>\n\n\n\n

\u201cOnce he started talking about cinema, his eyes lit up,\u201d said Shmulik Duvdevani, a film professor who with a student conducted the interviews at Golan\u2019s office in Tel Aviv and home in Jaffa.<\/p>\n\n\n\n

The conversations totaled 15 hours and are part of a project, the Israeli Cinema Testimonial Database, documenting the early decades of the country\u2019s film industry.<\/p>\n\n\n\n

\u201cYou can call him the father of popular Israeli cinema, films meant for mass audiences: comedies, melodrama, action,\u201d said Duvdevani, who teaches at Tel Aviv University and Jerusalem\u2019s Sam Spiegel Film and Television School. \u201cHe helped to build the Israeli film industry.\u201d<\/p>\n\n\n

\n
\"08608
Menahem Golan directing the classic Israeli film Kazablan<\/em>, 1973, photo<\/a> by IPPA staff, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel<\/figcaption><\/figure><\/div>\n\n\n

Golan began his career in Israeli theater, but discovered his calling as a movie director and producer in the 1960s and \u201870s in a genre known as \u201cbourekas films\u201d that depicted Ashkenazi and Sephardi characters engaged in ethnicity-based misunderstandings and conflict.<\/p>\n\n\n\n

Few Israelis made any styles of movies then, and little appreciation \u2014 let alone funds \u2014 existed for high production values. Sound quality was so poor that subtitles were sometimes a necessity. Shots that belonged on the cutting-room floor remained in the film.<\/p>\n\n\n\n

But the genre was \u201can important stage\u201d in Israeli cinema\u2019s development, said Rami Kimche, a professor at Ariel University and author of a 2023 English-language book, Israeli Bourekas Film: Their Origins and Legacy<\/a><\/em>.<\/p>\n\n\n\n

And while Golan, the son of immigrant parents from Poland, might not have intended to break social barriers with films portraying Mizrachi Jews, he recognized them as part of his ticket-buying audience.<\/p>\n\n\n\n

\u201cHe was a businessman, a theater man, a producer. He was important because he was the first,\u201d Kimche said.<\/p>\n\n\n\n

\"990044999100205171\"
Yehoram Gaon and other actors in character on the set of Kazablan<\/em>, 1973, photo<\/a> by IPPA staff, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel<\/figcaption><\/figure>\n\n\n\n

Kazablan<\/em>, a 1973 bourekas musical Golan directed based on a play and a previous film, was \u201ca major, major production, definitely was groundbreaking and was the peak of his work,\u201d said Isaac Zablocki, director of the New York-based Israel Film Center. Golan directed three other bourekas films: Fortuna<\/em>, Aliza Mizrachi<\/em> and Katz V\u2019Carasso<\/em>.<\/p>\n\n\n\n

Golan\u2019s best-known movie in the genre was one he produced: Sallah Shabati<\/a><\/em>, starring Chaim Topol and directed by Ephraim Kishon. It garnered Israel\u2019s first nomination for an Academy Award, in 1964, in the foreign-film category.<\/p>\n\n\n

\n
\"990049467810205171\"
A Hebrew promotional poster<\/a> for the film Sallah Shabati<\/em>, produced by Menahem Golan, from the Avraham Deshe (Pashanel) Archive which is made accessible courtesy of the family and as part of a collaborative initiative between the Ministry of Jerusalem and Heritage, the National Library of Israel and the University of Haifa.<\/figcaption><\/figure><\/div>\n\n\n

Three other Golan works earned foreign-film Oscar nominations: I Love You Rosa<\/em> (1972), The House on Chelouche Street<\/em> (1973) and Operation Thunderbolt<\/em> (1977), which told of the previous year\u2019s rescue by the Israel Defense Forces of hostages held in Entebbe, Uganda.<\/p>\n\n\n\n

\"Hijacked
Menahem Golan (left) directs Yehoram Gaon, who again starred in one of his films, this time as Yoni Netanyahu in Operation Thunderbolt<\/em>, based on the IDF’s daring hostage rescue mission in Entebbe, Uganda, 1976. Photo<\/a> by Danny Gotfried, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel<\/figcaption><\/figure>\n\n\n\n

In 1979, Golan moved to Hollywood, where he and his cousin, Yoram Globus, bought a studio, Cannon Films, and set out to make blockbusters on the world\u2019s largest stage.<\/p>\n\n\n\n

Their lead actors included Robert Mitchum, Sean Connery, Rock Hudson, Katharine Hepburn, Lauren Bacall, Faye Dunaway, Martin Sheen, Roger Moore, Rod Steiger, Donald Sutherland, Shelley Winters, Maximilian Schell, Jon Voight, Walter Matthau, Alan Bates, Isabella Rosselini, Sally Field, Michael Caine, Kim Basinger, Ellen Burstyn and a young Meryl Streep. Tough guys Charles Bronson and Chuck Norris performed in multiple Cannon films \u2014 and Sylvester Stallone and Jean-Claude Van Damme also starred. So did two global figures: opera singer Placido Domingo and ballet dancer Mikhail Baryshnikov.<\/p>\n\n\n

\n
\"Over
A promotional poster for Over the Top<\/em>, starring Sylvester Stallone and directed by Menahem Golan, courtesy of The Cannon Group, Inc.<\/figcaption><\/figure><\/div>\n\n\n

Noted directors signed on, too: Lina Wertmuller, Robert Altman, John Frackenheimer, John Cassavetes and Roman Polanski.<\/p>\n\n\n\n

Ruth Golan remembers buying a beautiful, long dress to attend a screening of her father\u2019s 1984 film, Ordeal by Innocence<\/em>. Not just any screening, but one held at a London theater, in the presence of Queen Elizabeth II and Prince Philip. Golan was seated beside the queen. He was instructed not to wear a wristwatch, lest it inadvertently tangle on the monarch\u2019s dress, his daughter said.<\/p>\n\n\n\n

As girls, Ruth and her two sisters hung around Golan\u2019s movie sets. She met actress Gila Almagor \u2014 and Michal Bat-Adam, who played the title role in I Love You Rosa<\/em> and with whom she\u2019s remained friends. Later on, she met Stallone, Voight and some of the other American stars working for her father.<\/p>\n\n\n\n

While Cannon didn\u2019t release critically acclaimed films, many turned profits. The studio certainly was a sequel factory: Lemon Popsicle<\/em> and its six sequels, four sequels to Death Wish<\/em>, four Ninja<\/em> films, The<\/em> Delta Force<\/em> and two sequels, Emmanuelle VII<\/em>, Superman IV<\/em>, Missing in Action 3<\/em>, Exterminator 2<\/em>, Breakin\u2019 2<\/em>, Missing in Action 2<\/em> and Texas Chainsaw Massacre 2<\/em>.<\/p>\n\n\n\n

\u201cSometimes there was money; sometimes, not. Sometimes we had a home; sometimes, not. It wasn\u2019t stable, but it was wonderful \u2014 up to a point,\u201d Ruth Golan said.<\/p>\n\n\n\n

Golan, said Zablocki, made films on the cheap, what once were called B movies. As an example, Zablocki cited the \u201clow production quality\u201d of Superman IV<\/em>, which included scenes of Superman flying that looked “so much more fake than\u201d in the previous three films.<\/p>\n\n\n\n

But Golan thought big. He even built a studio in Neve Ilan, west of Jerusalem, intending to draw international directors to make films in Israel. His own The<\/em> Delta Force<\/em>, starring Norris, was filmed at the studio, but not its two sequels.<\/p>\n\n\n\n

\"997009850342205171\"
Menahem Golan (center) holds court with Chuck Norris (left) and Lee Marvin (right) on the set of The Delta Force<\/em>, 1985, photo<\/a> by IPPA staff, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel<\/figcaption><\/figure>\n\n\n\n

\u201cHe was interested in making a Hollywood in Israel,\u201d Duvdevani said.<\/p>\n\n\n\n

The international film studio at Neve Ilan didn\u2019t last, but a stronger Israeli film industry eventually emerged. \u201cIt feels like an important building block,\u201d Zablocki said.<\/p>\n\n\n\n

Israel itself was a sequel in Golan\u2019s life. He returned to the country for good in the 1990s and was awarded the 1999 Israel Prize, given for lifetime achievement. Golan died in Jaffa 10 years ago this month. The National Library of Israel has an extensive photograph collection documenting Golan\u2019s career<\/a>.<\/p>\n\n\n\n

\u201cHe was a loving father, but also was busy with his career,\u201d Ruth Golan said. \u201cHe loved what he did.\u201d<\/p>\n\n\n

\n
\"08608
Menahem Golan on the set of Kazablan<\/em>, 1973, photo<\/a> by IPPA staff, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel<\/figcaption><\/figure><\/div>\n\n\n

<\/p>\n\n\n\n

Writer-editor Hillel Kuttler can be reached at <\/em>hk@HillelTheScribeCommunications.com<\/em><\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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