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The issue of War wid ow r epresentati on in Israel i cinem a is one of the most complex for the loc al industry for it seems to be unique and with a very local and specific ic onog raphy. Th e war Widow is a difficult character to di gest. Because this is an esp ecially painful topic in Israel, it s mode of representation is almost alway s problematic. Gila Almagor in Tofano' ;s "siege&q uot; is one of the first character s of the ";modern " war widows to appear on Israeli cinema screen s. Th e human an d social complexit y of the s tatus of widows w as not repre sented adequately and p ersonall y until her complex and fine appearance in thi s film. It w as mostly Preceded by cliches of heroic women who have sacrifi ced for the nation with c haracters to which it was v ery difficult to g et attached, nor to their pe rsonal grief. ";Siege"; was d irected by an unknown Italian director of that perio d. Althoug h Gilberto T ofan o was brought as a professi onal directo r on the w ings of ins piration made by the French Ne w Wave of those years, he managed to turn out a very exciti ng work which ha s caught the Israeli warmth an d sense of social siege which surrounds the Is raeli widows , including the great ex pectations from them and the social stigmas. Tofano wrapped hi s leadi ng la dy w ith lots of warmth and gave a pla ce of hon or to Almagor's imp ressive presence in th e fil m. This is without a d oubt one of Almagor 's be st and mo st accurate performances. The re straint in her p erform ance plus the shooting and expressive use of ang les by Tofano and hi s soft Europ ean tou ch which was far off from the agg ressive local product managed to produce a se nse of documenting an authenti c tragedy with a tangi ble person al touch that minimi zed the national dimension. The re sult stands the t est of time proudly s everal decades after its c reation. 宁知意点头，“他现在每次来 ，都是从这 里进。”说到这里，她想到 什么，现场给她复制了一枚玉简，“陆望老 祖参与了仙上楼三百 六十八家的禁制改造，他在 各店都弄了一个随机传送阵，你记住各店传送阵的 位置，以后出门遇到危险，寻就近的仙上楼，百里内随时可定 位传送。”
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