, and Moni Yakim is its sole inaugural faculty member still active. Feared and revered, he is generally held back from first-year students, and to hear Oscar Isaac tell it, their delayed introduction to his demanding classes comes with a mix of excitement and dread: "Oh my gosh, get ready, 'cause Moni's gonna kill you!" Rauzar Alexander's celebratory portrait,, does a fine job of tracing the formation of this staunch proponent of physical communication in acting.
Yakim is a legendary figure; having been there since the inception, he's the one teacher that pretty much every actor who has passed through Juilliard since 1968 has in common. That in itself is a remarkable achievement in longevity.
One thing Alexander's doc does very well is rehabilitate mime as a legitimate performance discipline and not just a kitschy joke practiced by annoying buskers in parks and shopping plazas.
While the film lurches around with the chronology, the sonorous-voiced Yakim makes an engaging guide through his early life, growing up in Israel under the British Mandate and feeling like a second-class citizen due to his Arabic background . Recollections of his altercation with a sergeant while doing military service are sharply intercut by editor James Codoyannis with a Juilliard movement class; the doc could have used a little more of this kind of creative collocation.
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