I must admit to having a difficult time judging Manasse since I have no experience with Romanian silent films and my main point of references are those films from more developed (I presume) cinematic infrastructures that were nearing the peak of their artistic powers. Director Jean Mihail, in only his second turn in the big chair, is unfortunately drawing much more on conventions from 10 years earlier than from his contemporaries and the results are painfully apparent.

The story is quite interesting though. After the death of his wife, a pious Grandfather, Manasse, leaves his rural home in the Jewish quarter of Falticeni to visit with his successful and more worldly son in Bucharest, trailed by the utterly odious and money-grubbing hanger on, Zelig, who is trying to arrange a marriage with one of his 'customers' and Manasse's granddaughter. Unfortunately she is already in love with a nominally Christian judge but her parents allow Zelig's scheme to progress causing much pain for all involved. Given a more competent telling there is a lot to consider here, particularly at this point in history but it's mostly a mash leaving story arcs frustratingly unresolved or underdeveloped.

I think the lack of technique could best be compared to the race films, both Black and Yiddish, from the '30s and early '40s where the aspirations of the filmmakers were overshadowed by their lack of technical competency. Manasse sorely needs an editor as it would seem the company was obsessed with getting use from every frame of footage shot, regardless of how it impacted pacing or story development. Still, it's a fascinating glimpse at Jewish life in between-the-Wars Eastern Europe and the attitudes that were in the air at the time just prior to the looming extinction event that would change it forever.