Leonard Cohen Film Toasts Songwriter


“He’s the man who comes down from the mountaintop with tablets of stone,” says U2’s guitarist, The Edge, in “Leonard Cohen I’m Your Man,” a documentary on Cohen, one of the greatest living songwriters, that is screening at this year’s Sundance Film Festival.

Comments on Cohen’s many biblical references in his songs and his almost mystical authority are sprinkled through out the film, which is slated for a May theatrical release from Lionsgate, even as the many interviewees also point out that Cohen can also be droll and erotic in his work.

The film’s director, Australian-born and L.A.-based Lian Lunson, expanded upon The Edge’s comments in a telephone interview:

“I think with great writers like Leonard Cohen, the gift they have has so much weight behind it, that even if the lyric isn’t religious, it takes on a religious aspect because of the great amount of contemplation that has gone into it.”

The film interweaves interviews with various subjects with a wry, introspective 71-year-old Cohen — his face creased and hair gray but both his mind and his wardrobe sharp. Interspersed, too, are performances at the “Came So Far for Beauty” concert tribute to Cohen at the Sydney Opera House.

At that show, produced by American Hal Willner (who also produced UCLA Live’s Randy Newman tribute), such musicians as the McGarrigle Sisters, Rufus Wainwright, Beth Orton, Nick Cave, Linda Thompson and Antony (of Antony & the Johnsons) perform versions of songs from throughout Cohen’s career. Eventually, late in the film, Cohen sings — in his gravely rumble of a voice — “Tower of Song,” in a surprising special performance staged just for the film by Lunson, a longtime music video director.

As Cohen and others recall, his youthful influences included the Jewish liturgy he heard in synagogue. Cohen was born in 1934 in Montreal to an influential English-speaking family. His father was a clothing manufacturer, his paternal grandfather helped lead numerous Jewish civic and religious institutions and his maternal grandfather was a rabbi and Talmudic scholar.

Cohen became first an accomplished poet and then, starting with 1967’s “Songs of Leonard Cohen” (which contained the oft-recorded “Suzanne”) a singer-songwriter. According to Ira Nader’s Cohen biography, “Various Positions,” Cohen’s Judaism has influenced his songs greatly — “Who By Fire” is based on the melody of a Yom Kippur prayer, “Mi Bamayim, Mi Ba Esh,” and “If It Be Your Will” is derived from a “Kol Nidre” phrase.

Cohen talks movingly in the film about how his father’s death — when he was just 9 — galvanized in him a compassionate but unsentimentally mature view about the limitations of life on earth.

“It was in the realm of things that couldn’t be disputed or even judged,” he tells Lunson.

And he explains he’s been searching for other such things to give his life structure and discipline — truth — ever since. He describes himself as drawn to “the military and the monastery.”

While remaining Jewish, he has pursued an interest in Zen Buddhism for some 30 years at the Mt. Baldy Zen Center with a Japanese master, Joshu Sasaki Roshi.

“He was someone who deeply didn’t care about who I was, and the less I cared about who I was the better I felt,” Cohen tells Lunson.

Speaking quietly but unguardedly, Cohen appears amused when discussing his lifelong dislike for blue jeans, his following among young “punksters” and his regrets about once revealing that “Chelsea Hotel” was written about a sexual encounter with Janis Joplin. “She wouldn’t have minded, but my mother would have minded,” he says of his indiscretion.

“Leonard Cohen: I’m Your Man” was produced by Mel Gibson’s Icon Productions, which arranged distribution with Lionsgate. Lunson and Gibson are longtime friends, and she helped him put together the album, “Songs Inspired by ‘The Passion of the Christ,'” which included Cohen’s “By the Rivers Dark.”

“I took the idea of the film to Mel because he’s a huge Leonard Cohen fan, always has been, and he said, ‘Let me put it out there and see,'” Lunson said. “He loves Leonard Cohen.”

 

A Blizzard of Flicks for Jewish Eyes


At the Sundance wintertime festival, which began Jan. 19 and runs through Jan. 29, Jewish viewers can check out a blizzard of flicks, including:

Opening night film, “Friends With Money” (Jennifer Aniston, Jason Isaacs), spotlighting successful adults approaching midlife crisis. It’s the latest feature by Jewish writer-director Nicole Holofcener, whose self-deprecating comedy-dramas have been compared to the work of Woody Allen — not surprising, because her stepfather produced all of Allen’s films, and she virtually grew up on his sets.

Paul McGuigan’s “Lucky Number Slevin,” revolving around a Jewish mobster, “The Rabbi”; his arch rival (Morgan Freeman), and the chaos that ensues when the Jew declines to pick up his phone on Shabbat.

Tony Krawitz’s “Jewboy” (Australia), about an Orthodox youth searching for his place in the world (See last week’s story at www.jewishjournal.com).

Anders Thomas Jensen’s “Adam’s Apples” (Denmark), a black comedy spotlighting a disgruntled neo-Nazi sentenced to community service at church

Yoav Shamir’s documentary, “Five Days” (Israel), on the historic evacuation of 8,000 even more disgruntled Jewish settlers from the Gaza Strip.

Frieda Lee Mock’s “Wrestling With Angels: Playwright Tony Kushner,” which profiles the Pulitzer Prize winner who was raised Jewish on a bayou and channels Jewish themes into his work.

Alan Berliner’s “Wide Awake,” a self-portrait of the odd filmmaker’s insomnia, manias and obsessiveness.

Lian Lunson’s “Leonard Cohen I’m Your Man” (See main story).

Rex Bloomstein’s documentary, “KZ” (United Kingdom), about contemporary Germans living in the shadow of the Mauthausan concentration camp (See last week’s piece).

Tiffany Shlain’s short documentary, “The Tribe: An Unorthodox, Unauthorized History of the Jewish People and the Barbie Doll,” on how the busty blond figure — created by a Jewish American — serves as a metaphor of Jewish assimilation and identity

For film schedules and information, visit festival.sundance.org/2006.

Simultaneously, the sixth annual SchmoozeDance and KidzDance festivals — the Jewish counterpart to Sundance on Jan. 20-21 — kick off with a screening of Amos Gitai’s “Free Zone at Temple Har Shalom” in Park City, Utah. The Israeli film focuses on a confused American (Natalie Portman) on a road trip with a bickering Israeli and Palestinian. For information, visit www.jewishfilm.com.

 

Two Dark Tales Illuminated at Sundance


Martin Scorsese has famously influenced a whole generation of American filmmakers, from Abel Ferrara and Quentin Tarantino to Rob Weiss and Nick Gomez. But his influence is not limited to filmmakers in this country.

One who has channeled the Gotham-based auteur, albeit subconsciously, is Tony Krawitz, an Australian director, who specializes in short films. Krawitz’s most recent effort is “Jewboy,” a one-hour feature about Yuri, a Chasidic Jew, who comes back to Sydney, Australia, for his father’s funeral and has a crisis of more than just faith.

Although Krawitz says that he refrained from watching Scorsese’s films while making “Jewboy,” his lead character Yuri reminds one at times of Harvey Keitel’s Charlie in “Mean Streets,” as well as Robert De Niro’s Travis Bickle in “Taxi Driver.”

Like Keitel’s Charlie, Yuri places his fingers over the flame of a burning candle. He wonders if God will really punish him, if the flame is truly eternal. He also wants to feel something, even if it’s pain. That is why he touches the fire, since his religion prohibits him from touching a woman, from even holding hands with any female other than a family member.

The provocative title of the film “reflects the mentality of the lead character, so marked is he by being an Orthodox Jew 24/7,” says Krawitz, speaking from Australia. “Jewboy” makes a powerful statement about the oppressiveness and sterility of this Orthodox environment. Smothered with extended family whose expectations are that he will follow his father by becoming a rabbi, Yuri sees a future of loveless marriage, platitudes uttered by friends, and constraint.

More than anything else, he wants to connect with other people, and not only figuratively. The tension in the film occurs whenever he wants to touch a woman. There is a moment early on when he and his Lubavitch girlfriend circle their fingers through powdery flour on a table, coming tantalizingly close to touching each other. They both shudder and smile secretly as they part from the exercise, an erotic fillip in their claustrophobic world.

Krawitz, 38, was born in South Africa but grew up in Bondi Beach, a neighborhood of Sydney with a large Chasidic presence. He remembers a high school classmate who told him that he would not be able to touch a woman until he got married. Although Krawitz considers himself a secular Jew, this early exposure to the Orthodox world led to a lifelong fascination with that community.

As a university student, Krawitz drove cabs and on occasion was called “Jewboy” by his fares. Yuri, too, becomes a cab driver, which leads him into Sydney’s demimonde of sleaze, a scaled-down version of the Times Square in “Taxi Driver.”

Ewen Leslie, who gives Yuri’s character a tremendous inner life, bears a physical resemblance to Travis Bickle. Both dark-haired ghosts of the city, Leslie, when he takes off his shirt, reveals a sinewy, bony physique that is very similar to De Niro’s in that film. And Yuri’s small, nondescript one-room apartment calls to mind Bickle’s lodgings.

Yuri’s awkwardness with women and his conflicted feelings about sex are yet another echo.

Tortured as he is by his religion’s restrictions, Yuri goes to extremes to honor them: carrying a drunk, cleavage-displaying rider out of a cab by wrapping her with his jacket; touching the window of a peep show gallery as the topless dancer performs for him; and finally reaches the precipice, holding back his arms as a sexy prostitute presses her breasts against his chest and then fellates him.

After this encounter, Yuri rushes through the neon underworld with what Krawitz terms a “strobe-light effect,” the increased speed and then slow-motion of the camera, evocative of the turmoil in the streets in “Chungking Express,” a film that Krawitz says did influence him. In this case, “messing with speed” mirrors the inner confusion Yuri is undergoing.

At the end of the film, he holds his grandmother’s hand as she, a concentration camp survivor, watches a tennis match and roots for Australia’s Mark Philippoussis.

“I have faith in him,” she says.

“Jewboy,” which was entered into Un Certain Regard at the Cannes Film Festival, is Krawitz’s first film at Sundance. Although slightly less than an hour long, it will compete in the feature category.

Also competing at Sundance, in the documentary category, is “KZ,” perhaps “the first postmodern Holocaust movie,” says its director Rex Bloomstein. “It explores the subject in a different way.”

Certainly, there is more than an element of postmodern irony about a bunch of present-day, lederhosen-clad Austrian youth, singing roistering tunes about the concentration camp in Mauthausen and hoisting mugs at the very place where SS officers once clinked glasses of Schnapps after massacring their victims.

But that’s just one example of irony. Bloomstein interviews present residents of Mauthausen, including a young, dark-skinned teenage girl, presumably of mixed ethnicity, who wears a T-shirt with the words “New York” running across it and says that living in Mauthausen “is a perfect dream.” In the background, her surly, silent boyfriend, arms folded, leans against a car, impatient for the interview to end.

Bloomstein also interviews older residents of the town who lived there during World War II, one of whom beams with pride over having been married to an SS officer.

“KZ,” an abbreviation for the Austrian name for concentration camp, “Konzentrationslager,” depicts not only the town’s residents, but also the tour guides and the tourists.

One tour guide, an intense young Austrian with a shaved head, speaks to the visitors in staccato tones. He has a defiance about him, so consumed is he with anger at his country and the town’s legacy. Another guide is an older middle-aged man, who admits that he has become an alcoholic after years of working at the camp.

For the first 15 minutes of the film, neither guide mentions the word Jews, because Mauthausen was not exclusively a Jewish concentration camp. It began as a labor camp and later admitted large numbers of Russians and Poles as well as Jews, who were not brought to the camp until 1944, according to the film.

Bloomstein, a 64-year-old resident of England, has made numerous television documentaries with Jewish themes, including the three-part series, “The Longest Hatred.” But “KZ” marks his first time at the helm of a documentary film.

He was making a TV documentary called “Liberation” when he noticed the beer drinking and singing taking place within yards of the former concentration camp. He was “haunted by the disjunction, the reality of people enjoying themselves, and then the reality over there” at the camp, and decided to make a film that would show “the interface of memory and history and the present.”

Using a hand-held camera, Bloomstein finds one man, standing next to a crematorium, who straightens out his trousers after his girlfriend tells him they’re rumpled; then, camera in hand, she takes a picture of him. Bloomstein finds another man visiting the camp, a swarthy fellow, who writes in a book of visitors’ comments that Israel should be ashamed at how it has treated the Palestinians and the Kurds. His daughter simply writes, “Peace.”

Unlike most Holocaust documentaries, this one, as its press materials proclaim, contains no archival footage, no survivor testimonials, no voice-over. Bloomstein points out that there is also “No music.”

He doesn’t want an artificial stimulus for people to feel sad. He wants the filmgoer to be one of the tourists and take in everything as if he were there — the gas chambers, the ovens, and the “Wailing Wall,” the wall in front of which Jews, left to die, stood naked for days in the snow and in the burning heat. For postmodern irony, this is about as gruesome as it gets.

For more information on the Sundance, visit

Sunrise, Sundance, Swiftly Fly the Films


 

“When you’re a falafel king/you’re a falafel king all the way/from your first alef-bet/till your last dying day…” OK, maybe that’s not exactly how the musical spoof, “West Bank Story,” begins, but the short film indeed opens with a cadre of snapping dancers taking on the guys on the other side of the tracks. Yet, in this 22-minute film, instead of Maria and Tony, we have David and Fatima, and the war is not between the Jets and the Sharks, but between the Jewish Kosher King and the Palestinian Humus Hut next door. You can probably guess the rest, but hopefully, since the short was directed and co-written by L.A. native Ari Sendel, you’ll get a chance to see it here soon.

“West Bank Story” was one of a handful of Jewish-themed films screened at the Sundance Film Festival, which ended Sunday night in Park City, Utah. With the deafening chatter around this small town about which studio picked up which film for how many millions of dollars, it’s hard to sniff out, not the hottest films — but the most Jewish. While hordes of ecstatically friendly moviegoers snaked around the corner hoping to get into a screening of “Hustle and Flow,” the feature about a pimp-cum-rap star from Memphis (which Paramount got in a $16 million deal), I’m desperately trying to sell my extra ticket to a midnight showing of “Odessa Odessa” (I’d take $5-$10), a documentary that follows elderly Ukrainians in Odessa, Brighton Beach and Ashdod. A six-minute short from Israel, “Meet Michael Oppenheim,” which, through photographs and sweet narration, attempts to trace filmmaker Roni Aboulafia’s family history in Israel, preceded the 96-minute doc.

All roads seem to lead to Israel in the Jewish films at Sundance, even those not directly about the Holy Land. Take “Protocols of Zion,” documentarian Marc Levin’s personal journey to uncover the resurgence of this anti-Semitic screed since Sept. 11. He starts off at the site of the World Trade Center, talking to people who blame the Jews for the tragedy, and then goes to Middle America and the home of the White Supremacists and other Holocaust deniers. Levin veers away from the “Protocols” to Mel Gibson’s “Passion of the Christ,” and then to the streets of Patterson, N.J., to speak to the Palestinian street kids, he ends up — where else? — at the Palestinian-Israeli conflict, finding the “Protocols” at the root of all these problems (not without the help the Simon Wiesenthal Center’s Rabbi Abraham Cooper and the Anti-Defamation League’s Rabbi Abraham Foxman). “Protocols” has been picked up so far by HBO, with an airdate as yet undetermined (they’re hoping to sell it to the big screen first).

Perhaps it’s a paranoia arising from “Protocols” that I begin to see Jews everywhere at Sundance (well, we are running all of Hollywood, aren’t we? When Levin tries to get someone on the phone to discuss Jews in Hollywood, he gets passed around from Norman Lear to Larry David to Rob Reiner and back to Lear again). When I randomly attend “Palermo Hollywood,” a feature from Argentina, I am surprised to discover that one of the main characters turns out to be Jewish (nicknamed by his friends “the Jew”), and is running away from his wealthy political family that maintains its standard of living despite the financial crisis.

But the most prominent Jewish film here at Sundance is “Wall,” a French/Israeli documentary about the security “fence” being built in Israel.

“I was surprised to find that there are many Jews that are pro-peace in Israel,” one foreign journalist told me when she exited the film. Indeed, director Simone Bitton presents a moderate look on both sides of the concrete and barbed wire structure, as she interviews “regular” Palestinians and Israelis, i.e. not the fanatics, the leaders and the spokespeople, but those who live adjacent to the $1 billion project that is meant to bring security to Israel. Bitton is half-Arab and half-Jewish, which is probably why — with her fluent Hebrew and Arabic — she is able to have frank conversations with both sides. The picture won a Special Jury Prize in the World Cinema Documentary category, so I’m sure it will be available for viewing soon.

In searching out films with a Jewish or Middle East subject matter, I came across “Planet of the Arabs,” a six-minute compilation of clips portraying the Arabs in American film and television.

Dr. Emmett Brown: “Oh my God, they found me, I don’t know how, but they found me. Run for it, Marty.”

Marty McFly: “Who?”

Dr. Emmett Brown: “Who do you think? The Libyans!”

Filmmaker Jacqueline Salloum shows this clip from “Back to the Future” and more — from “Lawrence of Arabia,” to “The Muppet Show,” to (Gov.) Arnold Schwarzenegger’s “True Lies” — to tell audiences to “turn off your televisions,” to avoid these negative stereotypes.

Perhaps the fictional and real characters in the “Planet of the Arabs,” “The Wall” and “Protocols of Zion” will one day be like Ahmed and Mahmoud, and David and Fatima from “West Bank Story,” who, after their stores burn down, realize how much they have in common, and make falafel sandwiches together.

 

Israel’s Sundance Pics Garner Praise


These are hard times and good times for Israel’s movie industry. Major international films crews have all but abandoned the Jewish State as an on-site location since Brad Pitt and Robert Redford scuttled plans some three years ago to shoot “Spy Game” around Haifa and switched to Morocco instead.

The intifada has also scared off Hollywood celebrities (with very few exceptions), who used to pop up at Israeli film festivals and award ceremonies.

In their isolation, however, Israeli producers and directors have come up with a number of films that have garnered acclaim and awards at film festivals in the United States, Europe, Japan and Argentina.

There is some hope that “Nina’s Tragedies” can extend the streak at the Sundance Film Festival in Park City, Utah, during the Jan. 15-25 event.

Two other Israeli films will be screened at Sundance, and at least two more at the affiliated SchmoozeDance, the Jewish festival, on Jan. 16.

“Nina’s Tragedies,” subtitled “A Very Sad Comedy,” is directed and written by Savi Gabizon (“Lovesick on Nana Street”) and won 11 Israeli Academy Awards. It is Israel’s entry for foreign-language film Oscar honors and is given a slim outside chance to qualify as one of the five finalists for the big prize.

With its multitude of characters and subplots, it’s not an easy movie to summarize.

Basically, it revolves around the real and fantasy lives of Nadav (Aviv Elkabeth), a nerdy-looking 13-year-old, whose sexual awakening is stimulated by peeping through windows, but whose overriding obsession is on his beautiful aunt Nina (Ayelet July Zorer).

When Nina’s husband Haimon (Yoram Hatav) is killed on reserve army duty, Nadav’s highest hopes are fulfilled when he is asked to move in with the aunt to help out the disconsolate widow.

However, his elation is short-lived as handsome and sensitive photographer Avinoam (Alan Aboutbul) wins Nina’s affection and bedspace. Nina has some additional problems, when she spots her late husband, or his doppelganger, walking stark naked down the city streets.

Meanwhile, back at Nadav’s home, his fashion designer mother has kicked her increasingly religious husband out of the apartment. He joins a Chabad-like group, whose members dance in the streets to reclaim secular Jews for the faith.

There are more characters, including an adult peeping tom and his kooky Russian girlfriend, but despite it all, Nadav survives and even grows up a bit by learning about the nature of love, sexuality and family.

Both the acting and direction are well-above average, but what strikes the Diaspora viewer is the yuppyish tone and setting of the film. Just about everybody seems to live in an elegantly furnished apartment, wear stylish clothes, patronize upscale cafes and never worry about money.

Surely, Israelis are entitled to some escapist fare in these times, but it is odd how many Israeli movies fall into the same category.

As Hannah Brown writes in her Jerusalem Post review of recent Israeli movies, they “are set in a bizarre vacuum, a kind of ghost landscape, in which there are no wars, no Palestinians, no hourly news broadcasts or newspapers, no political discussions, no army service.”

An exception is the excellent “Yossi & Jagger,” which was honored at the Tribeca Film Festival in New York. Though the film’s focus is on the understated homosexual relationship between two army officers in combat, “Yossi & Jagger” astutely explore the real problems facing Israel’s younger generation.

Judging by the plot summaries, at least three of the four Israeli films to be shown in Park City also deal with real life in the Jewish State.

“The Garden,” which is having its world premiere at Sundance, tackles the unusual and unexplored problem of gay Palestinian teenagers, rejected by their own families, who cross the Green Line to work as male prostitutes in downtown Tel Aviv, in constant danger of deportation.

“Checkpoint,” also at Sundance, centers on one of the most grating symbols of the Israeli-Palestinian conflict, the road checkpoints manned by Israeli soldiers to prevent terrorist infiltration.

To the Arab population, the checkpoints are constant and humiliating reminders. The film won a top award at the Amsterdam International Documentary Film Festival.

Set for the SchmoozeDance festival are “Do They Catch Children Too?” and “My Mom, the General.”

The first focuses on Israel’s foreign workers, mainly Asians, and the lives and fears of their children.

Apparently a bit more light-hearted is “My Mom, the General,” in which director Shevi Rosenfeld records the doings of her 59-year-old mother, and grandmother of six, who decides to volunteer for reserve service on the army’s front lines.

For more information about the Sundance Festival, visitwww.sundance.org .

A Jewish New Wave


Ella Lewenz, pictured with one of her children,is the subject of her granddaughter’s documentary.
Filmmaker Myles Berkowitz made the comedy “20 Dates” on a budget of$60,000.

Park City, Utah

Jewish filmmakers descended on this snowy townlast month for their annual 11-day-long holiday ritual of schmoozing,skiing and screenings, better known as the Sundance FilmFestival.

That’s hardly big news in an industry with morethan a few Jewish members. What is news is that Jews were alsoturning up in full force on screen. While mainstream Hollywood hasbeen leery of taking on Jewish characters and subjects — theHolocaust being the exception– a new generation of independentdirectors is turning the cameras on their heritage.

When Robert Redford started screening cutting-edgework at his festival almost two decades ago, it was rare to see ayarmulke or a non-stereotyped Jewish family on a Utah screen. Butlast year, there was such a profusion of Jewish artists tacklingJewish themes that the Salt Lake City Jewish Community Center hosteda reception for them.

This year’s selection continues the trend.”There’s a diverse group of independent Jewish films here, and theydon’t all look alike,” said director Judith Helfand (“Healthy BabyGirl”).

Beyond the patently Jewish-themed films — more onthose later — it’s worth noting that the festival’s two winningdramatic films were imbued with a spirit that’s Jewish, even thoughthe characters were not. The Grand Jury Prize went to “Slam,”director Marc Levin’s neo-realist, humanistic drama about Washingtonprison life. Levin said that he next plans to film “BrooklynBabylon,” a cross-cultural love story between Jews and Rastafarians,which he hopes will be the “‘West Side Story’ for themillennium.”

The Audience Award and Filmmakers Trophy went to”Smoke Signals,” a poignant Native American father-and-son storyco-produced by Scott Rosenfelt, whose own father died the day beforethe Sundance awards ceremony. “It’s so ironic,” he said while sittingshiva with hisfamily. “For the past year and a half, I’ve poured my heart and soulinto this film dealing with the loss of a father. But life is notlinear; it’s cyclical — that’s a concept in Native American cultureand on the Jewish calendar too. I still feel like my father knowsabout this [award], that I have honored him with my work, and that wehave come full circle.”

Other evidence of the Jewish “New Wave” atSundance include:

“Pi” (Winner:Dramatic Directing Award) “Pi” is thebrainchild of twentysomething writer-director Darren Aronofsky, aBrighton Beach-raised Harvard grad whose father teaches science atYeshiva of Flatbush junior high school. In “Pi,” a tortured mathgenius named Max Cohen, with a knack for cracking codes, findshimself pursued by Wall Street suits and kabbalists searching for thehidden numbers behind the Almighty’s secret name. “It’s a spiritualsearch,” said Aronofsky. “The message of ‘Pi’ is that you shouldn’tspend all of your time searching for God in this lifetime. The beautyis in the chaos. It’s about enjoying life — which is also aChassidic message.” The film’s rich Jewish imagery, said thedirector, “comes from a trip to Israel. I got involved with the AishHaTorah Discovery program for three days in Jerusalem. That’s where Igot my introduction to numerology. It didn’t quite work for me, butit gave me a lot of respect for Judaism, and I used a lot of thematerial in this film.”

“A Price Above Rubies” One of this festival’s most lovingly-crafted tales is alsosure to be one of most controversial portraits of traditional Jews tobe released by a major studio (Miramax Films, a subsidiary of theWalt Disney Company). Manhattan-born writer-director Boaz Yakin tellsthe harrowing story of a pretty young Hassidic wife (ReneeZellwegger) who endures a veritable “Perils of Pauline” throughBrooklyn’s Boro Park. Her tribulations include an unloving husband(Glenn Fitzgerald), too busy praying and poring through the Talmud tosatisfy her needs, a judgmental sister-in-law (Julianna Marguiles)who kidnaps her baby; and an adulterous brother-in-law (ChristopherEccleston) who seduces her while reciting the “Woman of Valor” lovepoem–providing the film’s title about a woman’s worth. She findssolace in the arms of a sensitive non-Jewish Puerto Rican sculptor(Alan Payne). Yakin is ready for controversy after a successfullaunch in Park City. “The response to my film at Sundance has beenfantastic. It’s been a real high,” said Yakin, awaiting theinevitable criticism. “It’s all downhill from here.”

“A LetterWithout Words” This fascinating andentertaining documentary traces the rise of the Third Reich via newlydiscovered home movies. Director Lisa Lewenz grew up as anEpiscopalian. At 13, she learned the family secret: Her dad had takenon a new identity in America, converting and marrying out of Judaismto spare his children from the anti-Semitism he had experienced inGermany. Lewenz spent 16 years of her life trying to piece togetherher missing family history, partially to find out more about her ownJewish identity. “One of my subversive goals,” she said over coffee,”was to inspire people to really explore their own families andfriends. I think so few of us ever really delve into that pastbecause we’re so busy living in the present.”

“Obsession” Perhapsthe sweetest Jewish images at the festival were offered up by PeterSehr, a German director who is, naturally, Catholic. “Obsession”concerns a ménage àtrois between a young female musician andher two men, and their friendship with two aging Russian Jewishbrothers, Simon and Jacob Frischmuth (played by Allen Garfield andSeymour Cassell, respectively). “People are a bit surprised that aGerman director would put two Jews in there,” said Sehr, who haspresented one of the first glimpses of Jews in contemporary Berlin.”What I tried to show was 50 years of absence. I think the biggestloss in German cultural life is the loss of its Jewish community, andI think only now we realize how big this loss is. This is my smallopportunity to give something back to the community, my wish that wewould have what we don’t have now: people with humor, generosity, acertain type of attitude toward life, a type of love which I’mmissing with my own people.”

“20Dates” Appearing at the rival SlamdanceFilm Festival, New Yorker Myles Berkowitz took the Dramatic AudienceAward for making a comedy about his two biggest failures in LosAngeles: his professional and his social lives. He consults amatchmaker, married friends, a rabbi, and even crashes a traditionalJewish wedding, posing as a videographer so that he can interview theprettiest girls at the reception. We get to see each one of his 20miserable real-life dates, many of whom are brutally honest, thanksto a hidden camera. Although Berkowitz claims that “religion is notan issue” in his dating habits (most of his pursuits are non-Jewishwomen), he remains proud of his Jewish heritage and his family’stemple, the Pelham Jewish Center in New York. “Slamdance wanted toopen my film on Friday night,” he said somewhat slyly. “But just likeSandy Koufax, I refused to pitch on a holy day. I told my family Iwas not going to première my movie on Shabbos.” Berkowitz’sfinished effort, a polished homage to Albert Brooks’ “Real Life” andWoody Allen’s romantic comedies, cost $60,000, provided by a LebaneseChristian producer.

Now that Jewish themes are trendy at the festival,dire
ctor Judith Helfand suggested that the Jewish filmmakers gatherfor a Shabbat dinner in Park City next year. “The only problem,” shesaid, “is that all the Jews will be at the movies on Friday night.We’ll have to work on that.”

Woody’s Story

“Wild ManBlues,” which won Sundance’s DocumentaryCinematography Award, includes the first-ever real-life portrayal ofWoody Allen’s very private life. Directed by Academy Award winnerBarbara Kopple, the real focus here is on Woody’s recent Europeanjazz tour. Fans will be surprised to see Soon-Yi mothering Woody,while Woody notes that Soon-Yi was once “this kid eating out ofgarbage pails in Korea”; Soon-Yi referencing “Manhattan” as herfavorite Woody Allen movie (starring the teen-aged Mariel Hemingwayas his love interest); and an epilogue in which he visits hisparents’ condo to drop off some new trophies. His father, examiningthe DGA Life Achievement Award, admires the quality of the engravingbut never recognizes the achievement, while Woody’s mother, whenprovoked, lets him know what she really thinks of him:

Woody’s Mom: “Sure,you did a lot of good things, but you never pursued them! I took youwherever I thought was good for you.”

Woody: “Like where?Hebrew School? All that junk?… You still think I’d still be betteroff if I was a druggist, right?”

Woody:’s Dad: “Maybeyou would be. Maybe you’d do more business as a druggist than you didas an actor?”

Woody:“I probablywould. Maybe if I had a drugstore, I’d have a bigger audience than Iget for my movies! Mom, how do you feel that both Christopher[Woody’s nephew] and I are going out with Asian women?”

Mom: “I personallydon’t think it’s right. I would have liked him from the beginning forhim to end up with a nice Jewish girl! [Soon-Yi recoils.] That’s whythe Jews — someday, not in your time — will be extinct! And that’svery bad!”

Woody: “This istruly the lunch from hell.”

Kopple, who grew up in the Reform Jewish communityof Scarsdale, N.Y., notes the meaning behind this interaction. “Itcertainly says, whenever you go home again, you’re a child,” shesaid. “There, he has all these awards, and all the father is lookingat is the engraving. [And Woody has] a typical Jewish mother. It washysterical. Throughout the entire film, it was hard for me to controlmy laughter.” — HarryMedved

Harry Medved hosts “Cinema Beshert: MeetingYour Mate at the Movies” at the University of Judaism on Sundaynights.

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‘I Don’t Feel Any Need to Apoligize’

By Leila Segal

Boaz Yakin is waiting for theother shoe to drop: While his new film, “A Price Above Rubies,” got awarm welcome from audiences at the Sundance Film Festival, theChassidic community has yet to react to his tale of emotionalrebellion, which opens here next month.

Director Yakin is known for his criticallyacclaimed debut, “Fresh,” set in gangland Brooklyn. In “A Price AboveRubies,” Sonia (Renee Zellweger), a young wife and mother living in aclose-knit Chassidic community in New York, finds herself frustratedby her allotted role. She sets out to explore her individuality andsexuality, and her journey to self-fulfillment encompasses a job inthe jewelry business and an affair with her brother-in-law, Sender(Christopher Eccleston).

While Yakin realizes that his choice of backdropfor the movie is bound to provoke controversy, he insists that thefilm’s main concern is societal repression, not a critique of theChassidic way of life: “‘A Price Above Rubies’ is about the power,fear and anxiety that can be created by feminine sexuality in aconservative society,” he says. “I only used the Jewish background asan excuse to tell a story that is really about one woman’s struggleto discover herself in a society which emphasizes conformity and dutyover self-fulfillment.

“It could apply to any community. It shows you awoman who essentially has a certain kind of selfish need and acertain kind of passionate need that isn’t being met, because, in anystrongly knit group, the needs of the individual are subordinated tothe needs of the group, which is very healthy in certain ways. But,like Sonia, there are those people who don’t fit, and they’remiserable, and that’s what this film is about.”

Yakin, himself from a yeshiva background,acknowledges that, in some respects, the film is critical of theChassidic way of life: “I’ve presented a very warm, sympathetic viewof the Chassidic world, but it’s also got a sense of humor, and, inplaces, it is critical,” he says. “Isn’t that what Jewish humor hasalways been about? Isn’t that what we’ve always been able to do? Weshould be able to make art that is critical and loving and humorousabout our own people. Isaac Bashevis Singer won the Nobel Prize fordoing it, and his stories are far more violent, sexual and criticalthan mine.”

True, Jewish tradition encourages discussionrather than imposing dogma. But should that discussion should beallowed to extend beyond the Jewish community, exposing our faultlines to the scrutiny of the wider world?

“The biggest victory someone else can have is toalter your own perception of yourself and your own sense of personalfreedom,” is Yakin’s response. “Historically, Jews have beenghettoized by other people. What we have today is a self-imposedinsularity that leads to total paranoia. Now I don’t forget history;I appreciate history. But when you let crimes against you dictate theway you look at yourself and at the world around you, you have letyour oppressors win.

“Anyone who’s going to be an anti-Semite is goingto be an anti-Semite no matter what we say about ourselves. The morewe can show ourselves as human beings, warts and all, the stronger wewill be.”

And while the Chassidic community, aware of itsvulnerability, is unsurprisingly defensive, if the Chassidim chosenot to participate in modern culture, then they cannot complain whenothers take up the torch on their behalf, asserts thedirector.

“My feeling is that there is nothing more healthythan art that is self-critical,” says Yakin. “Any society that can’tsurvive criticism isn’t going to make it anyway. As an artist, yourlife’s work is to explore the spirit of life in general. If my filmdidn’t offend anybody, I’d feel like I’d totally failed. I don’t feelany need to apologize for it or to soften it up.”

“A Price Above Rubies” opens nationally onMarch 27.



Leila Segal is a writer who lives inLondon.

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Exploring the Dark Side

By Naomi Pfefferman,Senior Writer

Hungarianfilmmaker János Szász agrees that his movies areunrelentingly bleak. “I lost half my family in Auschwitz, so all myfilms, in a way, are pessimistic,” says the soft-spoken, 40-year-oldauteur. “I see the dark side of life.”

Szász’s eerie “The Witman Boys,” Hungary’sOscar entry, is a grim, frightening tale of adolescence. Set amid thewintry mists of Transylvania, it f
ollows two brothers obsessed withsex and sacrifice after the death of their father. The exquisitelyphotographed film has earned accolades from Cannes to Sundance, whereSzász was recently toasted at a Variety magazine reception for”10 leading new independent directors.”

During a telephone interview, the filmmaker tracedhis gloomy vision to the Holocaust, to the mother who survivedAuschwitz and the father who survived Mauthausen. He loves hiscountry, its people and language, yet, as a Jew, he has always felthimself something of an outsider in Hungary.

While working on “The Witman Boys” in small-townTransylvania, he was devastated by “the ruined synagogues, with onlya few Jews left to [frequent] them.” He recalled how his parentsnever spoke of their Holocaust experiences. Instead, his belovedfather, a prominent screenwriter, fell into a quiet depression eachevening.

Only after Szász’s father died, in theearly 1980s, did a grandfather briefly speak of the “vast trains” tothe camps. The family silence molded a filmmaker: Szász becameobsessed with telling the stories of outcasts, “lost nobodies,”people alienated from the system.

The award-winning “Woyzeck” (1994) focuses on alonely, degraded railway worker who lashes out at society by killinghis wife. “The Witman Boys,” unloved by their cold, stern mother,seek a gruesome revenge.

Szász cast the film by scouringTransylvania for unknown talent; he knew he had found one of hisactors when he came across a teen-ager brooding alone in a darkclassroom while his peers gathered for auditions in theauditorium.

Today, however, the director wants to move beyondthe dark side. “I have to change because I have a beautiful youngdaughter, and I’d like to show that at the end of the tunnel, thereis a little light,” says the filmmaker, whose mentors have includedthe Oscar-winning director Istvan Szabo of “Mephisto.” To this end,Szász is relocating to Los Angeles, where William Morris hasexpressed interest in him.

Nevertheless, the bespectacled Szász hashis eye on at least one more somber endeavor, a Holocaust-themedproject. “I’m hoping it will help me explore my Jewish identity,” hesays, with a sigh. And perhaps, he muses, it will finally exorcisehis personal demons.