Upon his release he fled to Poland, but that country later expelled him in the months leading up to World War II, under pressure from the authorities in Nazi Germany.

Upon being drafted to the Israel Defense Forces, he served in a Nahal unit that combined military training with agricultural work on a kibbutz.

At the same time, he dabbled in theater by participating in student productions, and worked at the national Voice of Israel radio station as a program editor, actor, producer, director, and skit-writer.

Soon after the war, he returned to London to continue his studies and worked as an assistant director at Elstree Studios for the British espionage/science fiction adventure series The Champions.

His next documentary would introduce another key theme: the inequities of class disparity and discrimination between Jews and Arabs in Israel, and between Jewish Israelis.[who?]

The story, written in May 1949, tells of how Israeli soldiers expelled the Palestinian inhabitants of the fictional village of Khirbet Khize from their homes toward the end of the 1948 Arab-Israeli War.

[citation needed] In 1977, while the film was being produced, a new government headed by Menachem Begin was voted into power, Anwar Sadat visited Jerusalem, and people from across the political spectrum began to question whether it should be screened, given the sensitivity of potential peace negotiations.

Khirbet Khize was originally planned to be aired on 16 January 1978, but on that day the joint Israeli-Egyptian Political Committee first met in Jerusalem, and it was deemed inappropriate.

[citation needed] It aired on 13 February 1978, and Ram Loevy earned the reputation of an iconoclast who was willing and able to fight a deeply politicized system.

During his year in Harvard, he studied what he called "epic television", and wrote about how a single night of watching American television—(Family Business, the news, and The Love Boat, plus commercials) could be compared to a three-act drama by Bertolt Brecht.

Loevy had begun to explore this topic in his earlier works such as Indian in the Sun, and when he returned to Israel, he was presented with the first draft of their script.

[citation needed] In an interview, Loevy later explained the significance of these encounters to him: The gap between rich and poor is enormous in a country that was once the most egalitarian nation in the world.

The film tells the story of a Job-like character, Shlomo Elmaliach (played by Rami Danon), who loses his job at his town's local bakery when it is forced to close.

At first people come to visit him at home, and there's even a rumor that television reporters might show up (quickly dismissed by Elmaliach's friend Zaguri, "They only come when there's a ruckus.")

The tension soon erupts, however, because the screenwriter wants to keep her story in the realm of the imaginary, while the director struggles to adopt a more realistic approach to the storyline.

According to the jury that awarded the prize, "On the one hand, a prominent feature of his work in film is the desire to bring to a wider public of viewers an inner understanding and empathy for the way of life, the outlook on the world, and the motives that govern the actions of those known as "the fringe of society"—the homeless, the inhabitants of development towns, the Arabs, and the ultra-Orthodox.

In 1987, an official commission headed by the former President of the Supreme Court Moshe Landau ruled that "moderate physical pressure" might sometimes be necessary as an interrogation tool.

[citation needed] Both the police and the Shin Bet did, but the IDF refused to respond to the charges of an anonymous young reservist, who claimed on camera to have been involved in the physical and mental abuse of prisoners.

"[25] This view was also echoed in the citation of the jury explaining why it selected Loevy: "Equally worthy of special mention is his persistent struggle to show themes regarded as 'unacceptable,' though they touch on fundamental truths about Israeli society....

The play itself was a remarkable achievement,[weasel words] inspired originally by the saga of the Saint Louis,[26] but transformed over time into an "operatic"[27] metaphor about death and the loss of faith in messianic redemption that transcends any historical setting.

"[30] In the book, five distinct "mono-dialogues", a term Loevy himself used in personal correspondence, are used to tell the story of the family to an assumed listening partner, who is neither seen nor heard.

The "mono-dialogue" technique eliminated the "fourth wall" taboo of television and film, according to which the audience absolves itself of traditional neutrality and assumes the role of a character in the story.

Loevy succeeded in capturing the world of the Hiriya in its final days, as it was transformed from a dump to a recycling center and national park.

Banai, however, was also known as a singer, and his interpretations of the chansons of Jacques Brel and especially Georges Brassens in Hebrew (translated by Naomi Shemer) had endeared him to an even wider public.

"[31] Shortly before Letters in the Wind, Loevy directed a miniseries, Policeman (2000), based on a script by Galia Oz and Ofer Mashiach.

In 1997, Loevy approached Moti Kirschenbaum with plans to direct a miniseries about a murder that took place in a fictional television station, Channel 66.

Porat, however, was also closely aligned with the rightwing of the Israeli political spectrum, and had even referred to one of Hanoch Levin's anti-militaristic early plays as "theatrash".

is the final discovery that the roots of the murder date back to an incident the Six Day War, when a group of Israeli soldiers massacred 52 Egyptian prisoners at Ras Sudar in the Sinai.

Since then, Loevy made one more television drama, Skin (2005), written by Shoham Smith, about a former stripper who works in the Diamond Exchange District in Ramat Gan, gets involved in a murder.

Loey's first full length film, The Dead of Jaffa, is being written by his longtime collaborator Gilad Evron and produced by director-producer Eran Riklis.