In ‘Adam Resurrected,’ Jeff Goldblum reanimates controversial Shoah survivor


In order to play the lead in “Adam Resurrected,” Jeff Goldblum said he spent “months crying and crawling around on all fours.”

In the movie — which makes its Los Angeles premiere at the AFI Film Festival and is adapted from Yoram Kaniuk’s controversial 1969 novel — Goldblum portrays a German circus clown who survives the Holocaust by entertaining his concentration camp’s commandant: specifically by pretending to be a dog and even sharing a pen with the officer’s German shepherd. The fictional Adam Stein also proves useful by serenading Jews on his violin as they march to the gas chambers.

After the war, the character is suave and sexually voracious (albeit with a sadistic streak), but eventually suffers a mental breakdown. He begins to heal only when he bonds with an abused boy in a rehabilitation hospital in Israel.

While the film has received mixed reviews, critics have so far praised Goldblum for what many are calling a “tour de force” performance.

Director Paul Schrader has said that Goldblum was the only actor he ever had in mind for the role, due to the performer’s ability to simultaneously radiate vulnerability and a cavalier, almost glib charm. Goldblum has demonstrated these qualities in the roles that have made him iconic in the popular culture: a genius who morphs into an insect in David Cronenberg’s “The Fly”; a geeky Jewish cable guy who saves the world in “Independence Day”; and a mathematician with the charisma of a rock star in “Jurassic Park.”

Although he has not made a blockbuster since the 1990s, Goldblum said he has been content with his smaller film and theater roles, recently earning stellar reviews for his turn in David Mamet’s “Speed-the-Plow” in London. (He will replace Chris Noth in USA’s “Law & Order: Criminal Intent,” starting on Nov. 8.) “What’s the word from the Passover seder? Dayenu — if nothing else happened it would be enough,” he said.

The trailer

Then, several years ago, the script of “Adam Resurrected” arrived at his Hollywood Hills home. “I was quickly, entirely, wildly mesmerized,” he recalled of his first reading. “The character is so complicated and contradictory, full of towering grief and rage and poetry and majesty. And the story, of course, is moving and provocative and disturbing.”

Goldblum read and reread Kanuik’stream-of-consciousness novel — which was among the first to depict the Holocaust and its aftermath with biting sarcasm — with some trepidation. “The Holocaust is delicate, hallowed ground, so, yes, I felt nervous about the subject matter and was aware of some of the pitfalls,” he said, stammering and pausing in his idiosyncratic way. “A lifetime is not enough to really understand or know the events, so I spent a year immersing myself in the era.”

Goldblum visited the Museum of Tolerance, spent a month in Germany to perfect his character’s accent and interviewed survivors in Berlin and in Los Angeles at CafĂ© Europa, a support group at the Westside Jewish Community Center. At 6 feet 4 inches, he towered over the elderly Jews with whom he talked and danced at a Purim party. He visited the concentration camp Majdanek, where he peered into the gas chamber, and he spoke frequently to author Kaniuk, who laughed when the actor said he was taking violin lessons for the role.

“He said I had better learn to bark like a dog,” Goldblum recalled. The actor promptly emitted “yips and yaps” into the receiver — but he took the author’s advice seriously, going so far as to meet with Cesar Milan, of “The Dog Whisperer,” and to “spend time with German shepherds.”

Lest one think this was overkill, he pointed out that his character loses virtually everything in the Holocaust — not only his family and his circus, but also his very humanity. “Paul [Schrader] describes the film as a story about a man who was once a dog, who meets a dog who was once a boy,” Goldblum said.

The 55-year-old actor is as renowned among directors for his background research as he is for his quirky, awkward but charming repartee. He spoke to The Journal from his “Law & Order” dressing room in Manhattan, where he was studying a new script on his day off. When Goldblum made “The Fly,” he reportedly caught a fly in a bag in order to observe its habits.

Goldblum said he received only a “smattering” of Holocaust education while growing up the son of a physician in suburban Philadelphia. He attended an Orthodox synagogue, where he became bar mitzvah, and went on to pursue Transcendental Meditation and other Eastern pursuits. Goldblum said he lost no relatives in the Holocaust, although an uncle he closely resembles was a pilot who was shot down and killed in World War II. The actor, too, has experienced his share of losses, including the deaths of his father (in 1983) and a brother, Rick, who succumbed to a virus contracted in North Africa when Jeff was 19.

By that time, Goldberg had been performing piano professionally for five years, finagling gigs by telephoning numbers listed under “cocktail lounges” in the directory. He studied acting with the legendary Sanford Meisner and landed the role of a rapist in 1974’s “Death Wish.”

“The Big Chill” proved to be his big break in 1983.

But “Adam Resurrected,” so far, has proved to be his biggest challenge as an actor. Holocaust scholar Michael Berenbaum was impressed when he met with Goldblum to talk about survivors and the Nazi era. “It was quite stunning how seriously he prepared,” Berenbaum said. “He wanted to get the feel and tension of the character and to enter his inner world. And he read every book I gave him, from Eli Wiesel’s, “The Town Beyond the Wall,” which deals with how a man used his madness to heal from existential despair, to Victor Frankel’s ideas about the aftermath of the Holocaust — that for some, liberation came much later than the physical liberation.”

“I also remember him down on his hands and knees as a dog — Jeff Goldblum in his Hollywood Hills home as a g-ddamn dog. He had lost a lot of weight for the movie, and I was struck by how tall and thin he was.”

“I wanted to get as much a feel for the real thing as I could,” Goldblum explained. “I just hope I was worthy enough for the role.”

For information about the AFI festival, which runs Oct. 30-Nov. 9, visit www.afi.com.

Going home again is truly a family affair for filmmaker Azazel Jacobs


“I remember at an early age being told in school that Jews were a minority in the world,” filmmaker Azazel Jacobs mused. “And I remember just not believing that because I lived in New York City and thinking they must have things wrong because I was surrounded by so many Jews. That was the whole world to me.”

Jacobs left that world 11 years ago to study at the American Film Institute in Los Angeles. But each time he returned home, he noticed more and more changes to his old world.

In an effort to document his birthplace and find some reconciliation with those differences Jacobs returned once again, but this time with a script and camera in hand. Almost 70 years after Thomas Wolfe’s classic American novel, “You Can’t Go Home Again” was published, writer-director Jacobs echoes Wolfe’s oft-quoted title with his new film, “Momma’s Man.”

“Absolutely, you can’t go home again,” said Jacobs, 35. “I think this film is proof of that and it underlines it once more. If there’s any doubt ever, I can always go back to the film and remind myself that it’s really not a good idea.”

“Momma’s Man,” which opens at select Laemmle Theaters on Sept. 5, is the story of Mickey, a young man who stops by his parents’ loft in New York City while on a business trip and finds himself unable — or unwilling — to leave his childhood nest and return home to his wife and newborn child in California.

After moving back into his old room, Mickey becomes lost in his past as he rifles through boxes of memorabilia that include old love letters, songs he had written and comic books. The idea for “Momma’s Man” started as a “what if …” scenario that Jacobs began to fantasize about.

“It was a natural idea to wonder what it would be like to get away from the bills and everything else that’s going on in my life,” he explained. “But the more I got involved in it, the more seriously I started taking it and the more I started writing about somebody else. I didn’t believe that I would do such a thing so I came up with somebody who could.”

Although Jacobs considers his film a work of fiction, there are some similarities between himself and the character of Mickey, played by Matt Boren, who also appeared in Jacobs’ first feature, “Nobody Needs to Know.”

“There are a lot of qualities that Mickey and I share in terms of what’s in his room and what he’s going through,” Jacobs said. “That’s my old bed, my old love letter and my real old best friend playing my best friend in the movie.”

But what really blurs the lines between art and life in “Momma’s Man” is that besides shooting the film in the same loft where he grew up, Jacobs cast his real parents, avant-garde filmmaker Ken Jacobs and painter Flo Jacobs, as Mickey’s parents.

“I just couldn’t picture anyone else in their bed or kitchen,” Jacobs said.
Still, the director points out differences between the parents we see in his film and the parents who raised him.

“In reality my mom would not allow me to stay there for a day without realizing there was something wrong and confronting it,” he said. “My father plays kind of a quiet type in the film but that’s not the kind of household that I grew up in. He’s definitely a thinker and he plays with these toys but there was always a lot of discussion going on in that home.”

Those discussions served as the basis for much of what was instilled in Jacobs by his artist parents. Although the Jacobs are Jewish, they were not a religious family.

“We’re classic artist, Jewish, intellectuals,” Ken Jacobs said. “Aza was not raised with a sense of religion, but he was raised with a sense of morality.”

The senior Jacobs says he recognizes his son’s moral sense not only in his life, but his work as well: “Ever since he was a small child, Aza has always been very concerned about honesty and honest expression. He’s always interested in reality — what is real, and that’s what his films are about.”

One of the things that excites Azazel Jacobs about his new film is that he was able to include things he holds dear on a personal level, including some of his parents’ work. In what is supposed to be an early home movie of Mickey as a child, Jacobs crossed the art/life line again by using a shot of himself.

“There’s a clip in there from one of my father’s films, [the 1976 short] ‘Spaghetti Aza,’ which is from a longer piece called ‘Star Spangled to Death,'” Jacobs said. “I felt that in some ways I resembled Mickey enough for them to be the same person. And I love the fact that they’re sitting at that table now, and it’s the same table where this footage was shot when I was 4 years old. There are a few pieces of my father’s work in there and my mother’s paintings around the house, and these are things that I love. To have any chance of sharing the stage with what my folks have been doing is a great honor for me.”

As the son of a filmmaker and artist, Azazel Jacobs naturally had a love of cinema that began at an early age. One of his favorites was the surrealistic 1953 musical fantasy, “The 5000 Fingers of Dr. T,” based on the works of Dr. Seuss.

“Aza had a tape recording of the soundtrack, and he would fall asleep every night listening to it,” his mother, Flo Jacobs, recalled.

Film played such an important part in the family’s life that when Aza turned 13, instead of a bar mitzvah, his parents took him to see “Shoah,” Claude Lanzmann’s nine-hour 1985 documentary about the Holocaust.

“We thought that was a good way to bring Aza into manhood,” his father said.
Jacobs attributes most of what he’s learned about his heritage to the things his parents exposed him to.

“My exposure and education of Judaism came from a lot of different places,” he said. “Lenny Bruce was a big influence on me growing up. Fanny Brice came from my folks, listening to my father’s records of old radio shows. A lot of the education I received came through art and politics.”

But his parents’ work and their commitment to it also made an indelible impression on him.

“I really loved how much they loved their work,” Jacobs said. “From a pretty early age I saw that it was something special and how much they put into it and got out of it. They weren’t making art primarily for money or interested in anything commercial. Their audience was each other.”

As for his own work, Jacobs would like it to reach a wider audience than his father’s experimental films attracted, but still maintain the personal integrity of his parents’ creations.

“Ultimately, I want to look back and feel a strong connection with each piece and feel like that’s a good, telling document of where I was and an honest depiction of things that were going on in my mind or at that particular point of my life,” he said. “If I can look back and see that the work all attempted to do something new and alive and respectful — then I’ll be really happy with it.”

“Momma’s Man” opens Sept. 5 at the Laemmle Theaters’ Sunset 5 in West Hollywood, Playhouse 7 in Pasadena and Town Center 5 in Encino.