It had been a while since we’d seen an Israeli film, which was our staple before we switched to classics and Asian cinema, and this film The Cakemaker was getting the good buzz and hanging around, so we trundled off to see it. It had also been a while since we’d seen a gay movie, and this one was, yeah, really gay. But it’s Israeli, so it’s also moody and conflicted about the whole thing. And mostly not slanted, which makes things a lot more bearable.
A man in Berlin buys pastry for his wife back home in Israel. He chats up the baker with long, lingering looks and—”I’ve made a terrible mistake” pops into my head. But as the two lean in to kiss, fade to black. Cut to a year later, the two are hanging out in the German baker’s apartment, and we learn the two have been spending time together consistently whenever Oren (the Israeli) comes to town. He always goes home, but he always comes back.
Until he doesn’t.
The story kicks off because our baker, Thomas, is completely bereft. He calls constantly. He finally goes so far as to return some property to the business where Oren works, only to find out that he has died. This does not improve Thomas’ emotional state, as you might imagine, and before you know it, Thomas has booked a flight to Israel.
Now, this is the sort of thing that, were you Thomas’ friend, you would strongly dissuade him from doing. But Thomas has no friends—had no friend but Oren, and so off he goes to track down Oren’s wife. This is also the sort of thing from which you would believe, rightly, that no good can come from. However, this is a movie, and…well, it’s still hard to say whether anything good comes from this. Even the movie punts.
Basically Thomas ends up working with Oren’s wife, Anat, who runs an unsuccessful dodgy little café that has scored a big win in being certified Kosher (the dodgy part being that she’s not really sincere or careful). As a newly single mom, she’s often having to close up the shop for maternal reasons, and Thomas is there enough to eventually score a job.
This leads to some difficulties, as he isn’t aware of the Kosher rules, and some Israelis are (shockingly!) suspicious of Germans. Ultimately, though, Thomas is such the consummate baker that the shop quickly gains a reputation for its highly distinctive baked goods. (This distinctiveness is going to lead to issues later on when Anat’s suspicions are in need of confirmation.)
Things get as complicated as you might imagine, and then some, because on top of the usual stuff you’d expect, there is a fascinating question of religion and godliness thrown in. Anat wants the benefits of being Kosher, but she wants nothing to do with the responsibilities. And as we’ve seen before, often and recently, the Israelis are not afraid to show secular people floundering with loss and grief, when they lack the support of their community. Which isn’t to say that the movie takes a side: Nobody’s suggesting anyone should change any behavior, no matter how destructive it is.
Anyway, it’s a pretty good melodrama. There is a homosexual sex scene around the end of the second act which, I think, is meant to prove that the boys are really, really gay. I mean, in the current ZPG zeitgeist, heterosexuality is never the answer, and this fits in well with that, with no other real purpose. The movie had established both that Oren and Thomas were sincerely gay, and also that they occasionally fell off the wagon. (I think that’s an appropriate phrasing for the ZPG zeitgeist: Any sex anyone has that might result in a child is a mistake.)
We did all like it, though. The Flower loved the baking scenes (which are quite nice) and looked away during teh gay sex. I did not recommend it to my mom—who otherwise might have enjoyed it for the baking, and it’s definitely over-rated on Rotten Tomatoes. But if that’s not a deal-breaker for you, and you want to see a modestly paced complex drama, it’s worth a look.