Sallah Shabati () is a 1964 Israeli comedy film about the chaos of Israeli immigration and resettlement. This social satire placed the director Ephraim Kishon and producer Menahem Golan among the first Israeli filmmakers to achieve international success. It also introduced actor Chaim Topol (Fiddler on the Roof) to audiences worldwide. The protagonist's name, Sallah Shabati, is perhaps a play on the phrase סליחה שבאתי, Sliḥa she'bati, "I apologise for coming". In earlier print versions of Kishon's short stories which were revised for the film, the character was known as Saadia Shabtai. Plot The film begins with Sallah Shabati, a Mizrahi Jewish immigrant, arriving in Israel by plane with his family: very pregnant wife, ancient female relative and seven children. Upon arrival he is taken to live in a ma'abara, or transit camp, where he and his family are given a broken-down, one-room shack to live in. The rest of the film follows Sallah's many attempts to earn enough money to purchase an apartment in a nearby new housing development. His money-making schemes are often comical and frequently satirize the political and social stereotypes in Israel at the time. Finally realizing that people are more likely to get what they don't want, he organizes a demonstration against the housing office shouting the slogan: "We don't want the development: we want the ma'abara!" The film ends with residents being forcibly evicted by police and transported to - the new housing complex. Cast Topol as Sallah Shabati (as Haym Topol) Arik Einstein as Zigi, the kibbutznik boyfriend of Sallah's eldest daughter Geula Nuni as Habbubah Shabati (as Geula Noni), Sallah's daughter Gila Almagor as Batsheva Ha'Sosialit (social worker) Albert Cohen Shraga Friedman as Neuman, the kibbutz secretary (administrator) Zaharira Harifai as Frieda, a kibbutz supervisor (and the real power) Shaike Levi as Shimon Shabati, Sallah's son Nathan Meisler as Mr. Goldstein, Sallah's neighbor and backgammon pal Esther Greenberg as Sallah's wife Mordecai Arnon as Mordecai Themes Sallah Shabati's irreverent and mocking depiction of core Zionist institutions like the kibbutz provoked strong reactions among many filmgoers and critics. "The kibbutzniks in the film resemble bureaucrats and are clearly divided into veterans with managing roles and 'simple' workers, a division which contradicts the myth of Socialist solidarity and collectivist idealism. The kibbutzniks betray total indifference, furthermore, to the miserable conditions of the poor ma'abara next to them." Critical reception Sallah Shabati received mixed reviews