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Waltz with Bashir: A Lebanon War Story by…

Waltz with Bashir: A Lebanon War Story (2009)

by Ari Folman, David Polonsky

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Showing 1-5 of 8 (next | show all)
Beautiful, beautiful artwork and a powerful story about the futility and devastating consequences of war that is even more relevant today than it was in 2009. N.B. I have NOT seen the movie. ( )
  EnidaV | Apr 11, 2015 |
A man who fought in the Lebanon War gradually regains his memory of his part in a massacre. He visits several of his war buddies and several psychologists along the way. The book is about the mad moments of war and how it affects young people. I think this was made into a film. There is some hint of real photos in the artwork, especially some shocking ones at the end when details become clearer. Not as good as Joe Sacco's work, with which it's been compared. ( )
  questbird | May 14, 2014 |
A graphic novel adaptation of a animated film of one of the more tragic, and horrific, incidents in a war that was filled with such things. When a friend casually mentions an incident in Lebanon, Ari Folman wonder why he remembers nothing of it. But soon his quest for the truth leads Ari to a slow, terrible re-discovery of memories of that war. And one particular memory that will haunt the reader as much as it does Folman. ( )
  BruceCoulson | Apr 3, 2014 |
It's hard to imagine a film that better fits the true/false dichotomy than this Israeli hybrid, in which writer-director Ari Folman weaves together investigative journalism, personal essay and contemporary Middle Eastern history with startling, often surrealistic animated imagery. Inspired by his own repressed memories of Israel's 1982 invasion of Lebanon, which he participated in as a 19-year-old foot soldier, Folman spins a mind-bending, soulful and compelling tale of war, memory, trauma and lost innocence. The story follows Folman as he revisits the invasion, which culminates with a terrifying massacre in a Lebanese refugee camp. Waltz's voiceover is grounded in fact, comprised of real interviews with Folman's buddies, as well as with politicians and historians, but the imagery is otherworldly: rabid dogs rampaging through Tel Aviv; a bosomy green sea goddess carrying a seasick soldier across troubled waters. Vivid, provocative and innovative, this example of new-form war journalism — an Oscar nominee and most honored film of 2008 — pushes the outer limits of documentary filmmaking to unforgettable effect. (JS)

  TrueFalseFilm | Feb 16, 2013 |
Precise and beautiful drawings telling an awful story (1980s massaacre of Palestinians in Lebanon refuge camps) ( )
  AnneliM | Oct 26, 2009 |
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Folman, Ariprimary authorall editionsconfirmed
Polonsky, Davidmain authorall editionsconfirmed
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Amazon.com Amazon.com Review (ISBN 080508892X, Paperback)

Waltz With Bashir is a gripping reconstruction of a soldier's experience during Israel's war in Lebanon told in graphic novel form. The result is a probing inquiry into the unreliable quality of memory, and a powerful denunciation of the senselessness of all wars. Profoundly original in form and approach, Waltz with Bashir will take its place as one of the great works of wartime testimony.

Questions for Ari Folman and David Polonksy

Q: How did the book Waltz with Bashir come about?

Ari Folman: The project began as a movie, of course, but the film was more influenced by graphic novels than anything else I've seen. I'm a big fan of graphic novels, and books in general were on my mind throughout the whole process, especially Catch 22, Slaughterhouse Five, and The Adventures of Wesley Jackson--novels by writers who'd experienced war and then taken a step back to look at it in an ironic, funny way. So the book version always seemed obvious to me and we worked on both simultaneously.

Q: Why illustration? Why tell this story with comics and animation?

Ari Folman: It gave us total freedom to do whatever we liked. We could go from one dimension to another, from real events to the subconscious to dreams to hallucinations. It gave us the liberty to play with vastly different elements in one fluid story line, with no boundaries, and also to make something visually familiar and tired--war scenes--look entirely new.

Q: In terms of the drawings, what was the biggest challenge?

David Polonsky: The illustrations had to have a sense of truthfulness. I couldn't pretend I was showing things exactly as they were, although there had to be the ring of authenticity. But I had no references for a lot of the scenes--like the one where Ari is in the Beirut air terminal, for example. Besides the fact that as an Israeli I can't go to Beirut, the building itself was demolished and rebuilt. So I had no idea what the inside looked like. But there were some references to work with: the scene took place in the 1980's and the building was from the 1930's, and there was Ari and the impression that all this European modernist splendor would have made on him as a young soldier. We collected old posters for Lebanese airline companies, and those details made their way into the panels.

Q: The story is Ari's, and very personal, but it's drawn by David. How did you work together?

Ari Folman: We went through a lengthy process with many conversations about what we were creating. At first, David found it difficult to take something so intimate, something that came from me, and draw it. I think it's pretty rare that an illustrator inhabits someone else's history for three years of his life. It was hard for me, too, because I can't draw, and that limitation meant I really had to put myself in someone else's hands.

David Polonksy: For me, the difficulty was creating the young Ari of the 1980's, someone I didn't know. There were very few photographs of that period. I had to come up with someone who combined rebelliousness with conformity and a certain innocence...Ari didn't accept the rules of his surrounding framework--and he's still like that--but he nevertheless became an army officer. So I gave him a nonstandard haircut and left him unshaven, which is pretty unusual in the army.

Ari Folman: My mother says he didn't make me handsome enough. And in the present-day drawings, David had to change my hair color all the time--it kept getting grayer. Seriously, David's gigantic achievement is to have captured my character at nineteen years old. I felt no connection to that person and only became reacquainted with my younger self through David's portrayal.

Q: You've insisted that Waltz with Bashir is not a political project, but there's no way to read the book or see the movie and avoid making a connection to politics.

Ari Folman: The point is that I didn't set out to make a movie or a book with a political message. It's above all a personal story. But certain things were very important to me that you might call "political." We went to great lengths to avoid conveying anything about war that might be heroic.

David Polonsky: There was another crucial thing for us, which was to avoid showing the soldiers as victims. There's a phrase in Israel about shooting and crying--we shoot and then cry at our misfortune at having to do it. We didn't want any of that here, no self-pity. There's a clear, simple message: war is terrible.

Ari Folman: Listen, Waltz breaks no news in terms of what happened at Sabra and Shatila. Everyone knows the reported facts and I had nothing new to say. I was interested in the ordinary soldier, his point of view, and in the chronology of his understanding of the massacre.

Q: The book and the movie have come out in the United States at a time when the conflict seems more intractable than ever.

Ari Folman: I'm not that pessimistic. Everyone knows that one day there will be a Palestine. In Israel, most people want to be part of the mainstream of ordinary life. They want to earn a good salary, pay less taxes, take a vacation abroad once a year. They don't want to live by the sword. Look at it this way: I made the movie of Waltz with German co-producers. Sixty years ago, my parents' families were slaughtered by Germans. My parents were the only survivors. What's sixty years from the perspective of history? Nothing, but the change is profound. I've been to the Sarajevo film festival: think what was happening there thirteen years ago and now they live in peace. So it can be done.

(retrieved from Amazon Thu, 12 Mar 2015 18:09:10 -0400)

(see all 2 descriptions)

In Beirut in September 1982, while Israeli soldiers secured the area, a Christian militia entered the refugee camps of Sabra and Shatila and massacred hundreds, if not thousands, of Palestinians. Ari Folman was one of those Israeli soldiers, but for more than twenty years he remembered nothing of that night. Then came a friend's disturbing dream and with it Folman's need to excavate the truth of the war in Lebanon and answer the crucial question: What was he doing during the hours of slaughter at Sabra and Shatila? Stunningly original in form, Waltz with Bashir follows Folman's journey deep into the darkness of Beirut. Drawing on the stories of other soldiers and his own returning fragments of memory, Folman painfully and candidly pieces together the war and his place in it: the senselessness of the soldiers' orders; the fear that pervades every moment; the casual bloodshed of civilians, culminating in the massacres themselves. The result is a graphic novel that is as damning as it is beautiful. An indictment of violence of extraordinary power, Waltz with Bashir will take its place.… (more)

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