Zohan isn't out just to make his older female clientele's hair silky smooth he's also intent on pleasuring them sexually. But the film gets more comedic mileage out of Zohan's hairdressing occupation and his absurdly large endowment. The story - penned by Sandler, Robert Smigel and Judd Apatow - attempts to be fair to both sides but nevertheless resorts to cultural stereotypes and ethnic humor for many of its gags. Ultimately, though, the film plays it safe and doesn't offer anything more than a simplistic "can't we all just get along?" message. Sure, they might be lightweight, low-brow comedies but how many other major (or dramatic) Hollywood productions have bothered to tackle these subjects? The mere fact that the Israel-Palestine question plays such an integral part of the film makes Zohan noteworthy. As with last year's I Now Pronounce You Chuck & Larry, also starring Sandler, Zohan deserves credit for attempting to explore a serious political issue - in this case, the Israel-Palestine conflict - within the context of a popcorn flick. Like a gunfighter who can't escape his past, Zohan must contend with old foes gunning for him while also trying to save his newfound community from the clutches of a greedy businessman. Salim gets word to The Phantom that his old enemy is still alive and well. Meanwhile, Zohan is tracked down by the angry cabbie Salim (Rob Schneider), whom he'd encountered years before in Irsael. Instead, he is hired by a neighborhoood beauty salon owned by Dalia (Emmanuelle Chriqui) - a beautiful Palestinian woman whose business, like the others in the neighborhood, is threatened by the Trump-like real estate developer Walbridge (ring announcer Michael "Let's get ready to rumble!" Buffer). Although he has finally found some peace, Zohan's dream of working for Paul Mitchell doesn't materialize.
Living under an assumed name, he resides in a New York City neighborhood where Palestinians and Jews co-exist peacefully. During a battle to capture The Phantom, Zohan fakes his own death and then stows away on a plane to the States. Zohan's fate seems sealed until his arch-enemy, The Phantom (John Turturro), returns to the scene.
Besides, they remind him, his country needs him now more than ever. But they laugh at him and call his sexuality into question when he finally discloses that his secret dream is to be a hairdresser for Paul Mitchell. He tells his parents that he wants to move to America and start a new life. Despite his patriotism and years of loyal service, he is exhausted and disillusioned from the incessant fighting between Israelis and Palestinians. But for all his fame and machismo, Zohan is unhappy and longs for a different life.
Not bad for a guy whose style is left over from the early '80s. He is damn near super-human: He can catch bullets in his teeth, beat up 10 men with his bare hands at super-speed, and jettison a fish out of his bare buttocks (you'll see). Enemies dread him, men want to be him and women want to be with him. The Zohan (Sandler), a celebrity of sorts in his native Israel, is a terrorist-killin' sex machine who gets high-fives whenever he strolls down the beach.
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