Dr. John Sherman and Rabbi Eliezer Eidiltz
Dr. John Sherman and Rabbi Eliezer Eidiltz Read More »
Every Chanukah we seem to throw ourselves into planning the perfect celebration. Beautiful pictures in glossy magazines and catalogs feed a holiday fantasy that includes intricate latke recipes and newly minted family traditions presented to a receptive room full of beaming relatives and well-behaved children. My daughter and son would be well dressed and playing Chanukah tunes and driedel games together in harmony. As my husband passed the platter of golden latkes around the table, he would gaze adoringly at me and say, “You’re the best.”
But the reality during Chanukah is that I start off feeling overwhelmed and end up exhausted. I’ll have a child who sulks because things didn’t go his or her way, and everything we plan will become more stressful than magical.
Our expectations of Chanukah — or any holiday — are often exaggerated by childhood experiences, for better or for worse. If we have happy childhood memories, we sometimes go to great lengths to try replicate that experience for our kids, which they may or may not appreciate as we did. Those who missed out on the holiday fun are sometimes determined to create it for their children. Factor in an adult partner’s traditions that don’t exactly mesh with your own and Chanukah could become downright explosive.
Hollywood also ramps up holiday expectations, especially in regard to family relationships. Movies and television shows sow the idea that conflicts with a parent, sibling or spouse will be resolved during the holiday, and that dinner will end with a makeup session. The reality is that holidays tend to increase tensions between family members who don’t already get along rather than resolve them.
Gone are the days when mothers had the luxury of time to trade recipes and make goodies from scratch, let alone make a perfect latke. In addition to work, mothers must also juggle car pools, homework, Hebrew school, soccer practice and play dates.
Life is busier and more chaotic than ever, but that need not take a toll on tradition. Developing realistic expectations will help balance what’s possible during the holiday season.
Talk About It
Walk through the holiday agenda with your child — let them know who will visit, who will be staying in your home and for how long, and when the celebration will take place. This kind of preparation gives children a sense of order so they can focus and enjoy the activity at hand. Also, discuss with kids the difference between what we wish for and what will really happen. Talk about how advertisers tempt us into buying a product and how toys don’t always work as portrayed in commercials; it’s never to soon to be an educated consumer.
No More Hype
Be a role model for your kids and take delight in simple joys during the season. Plan fewer events and schedule more family time. Turn off the TV, take out old photo albums and just talk. You can set up a family board game night or take a walk together as a family.
Do a Good Deed
Another December dilemma is the variety of volunteer opportunities present this time of year. You can bring your children with as you help at a soup kitchen, bring baked goods to a nursing home, take clothes and toys to a shelter. It’s a mitzvah to give to others, and the holiday time is just as good as any to begin a positive habit.
Do It Again and Again and Again
Family rituals and traditions are the way we manage our expectations and stay grounded in reality. Never eliminate a tradition. Tradition equals comfort for both parent and child. But don’t forget to forge a new tradition that brings your family together and provides everyone with a spiritual focus.
Donna Becker is the preschool director at Temple Beth Haverim in Agoura Hills.
Manage your Chanukah fantasy by putting the focus on your family Read More »
Saturday the 16th
To our knowledge, only one man can claim all of the following titles: writer, director, actor, comedian and Dixieland jazz clarinetist. Artist of all trades Woody Allen focuses tonight on that latter occupation. He and his crew, a.k.a. Woody Allen and his New Orleans Jazz Band, perform in a rare large venue appearance at UCLA’s Royce Hall as part of their first North American tour.
8 p.m. $25-$125. Royce Hall, UCLA, Westwood. www.uclalive.org.
Sunday the 17th
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Thursday the 21st
Swingin’ Chanukah with Kenny Ellis; The Klezmatics at the Disney; Three More Tenors Read More »
Last week, the Conservative movement paved the way for ordination of gay rabbis and the performance of commitment ceremonies for same-sex couples. But the decisions that came out of the two-day meeting of the Rabbinical Assembly’s Law Committee — the advisory body for the movement — were much more nuanced than headlines suggested.
After the 25-member committee heard five responsa (halachic papers ruling on the subject), the group voted to ratified three, allowing Conservative seminaries and rabbis various options from which to choose:
Shortly after the decisions, Dorff, rector at the University of Judaism and author of the most liberal opinion ratified, spoke to The Journal.
Jewish Journal: What does the ratification of your responsa this mean for you?
Rabbi Elliot Dorff: It takes a major burden off my shoulders. I’ve been involved in this since 1991, when the law committee first met on this. And then again when we started in January 2004, for the last three years. I’m really glad that we came to a conclusion and the conclusion was favorable.
JJ: Why go so far as to allow for gay commitment ceremonies and ordination but come out against anal sex?
ED: The strategy that we used was to uphold the prohibition in the Torah, at least how that prohibition has been understood by the rabbis, while revoking the prohibitions that the rabbis of old have added.
It’s a compromise position. The verse itself [Leviticus 18:22] is not clear. There are a number of biblical scholars that have different understanding to what that means. The mishnah and the Talmud prohibited anal sex. Then they added to it; the rabbis also prohibited male-male forms of sex, oral sex or mutual masturbation or hugging and kissing.
In our case, the Torah is like the constitution, and the rabbinic rulings are a secondary authority. It’s more justifiable to change what the rabbis added than to change the Torah itself. It’s somewhat akin to Congress changing previous legislation than Congress changing a constitutional amendment.
JJ: What will the prohibition mean, in practical terms? Will you become the bedroom police?
ED: Neither for heterosexuals or for homosexuals; it’s simply not my business what either do in bed. It’s just as much against Jewish law for heterosexuals to have sex during nidda, the menstrual period, as for homosexual couples to have anal sex…. When we do weddings, very rarely do Conservative rabbis talk to couples about abstaining from sex during the menstruation period. It’s simply counterproductive if the rabbis don’t think the couple will uphold it. In the same instance we would not talk about it to heterosexual couples, we wouldn’t talk about it with homosexual couples unless they ask. If you know someone’s not going to obey a particular law, better that they do it not knowing it’s a violation than do it intentionally. Rabbis should not say things that are not going to be heard.
Jewish law sets up ideals, and in every aspect of our lives we do not fulfill those ideals. So three times a day we ask God for forgiveness. Even if a gay couple were to engage in anal sex, that doesn’t mean that they are any worse than the rest of us.
They are sinning, but no different than the rest of us. The point is that — none of us is perfect. None of us fulfills every letter of the law.
JJ: Some people have hailed this decision as paving the way for gay rights in the Conservative movement. But others find it hypocritical to call gay intercourse a sin.
ED: It’s a violation of Jewish law. That’s what it is. The word “sin” carries all kinds of Christian connotations. It carries with it Calvinistic and Puritan understandings, especially the connotations of the word sin as in Jonathan Edwards quote, “Sinners in the hands of an angry God” — that you’re going to be banned to hell. This is not the case. This is not at all the understanding of violating God’s will. I hesitate to call it a sin. It’s a violation. We all make violations. We have to be very careful about mounting a high horse and making a campaign against sinners and look at ourselves first.
JJ: At the same time, while your teshuvah was approved, so was Rabbi Levy’s, which seemed to espouse homosexual reeducation, taking the earlier position backward. What was the place for this responsa in the law committee?
ED: I voted against his teshuvah. Our teshuvah includes a summary of the best research available for sexual orientation and origins of sexual orientation and children of homosexuals. Our teshuvah has 30 to 40 different studies in regards to statements, and the overwhelming majority of people agree that homosexuality is not changeable, and by the time you’re 6 or 7 your sexual orientation is a part of you and cannot be changed. That’s the research that we quote and that’s the overwhelming research of the psychological community. Our teshuvah is based on the best research available. Rabbi Levy found one [person] who says [sexual orientation] can be changed.
It’s a minority opinion. It got six votes — barely enough. Ours got 13 votes.
JJ: There were two minority opinions that went farther than yours in giving full acceptance to gays. Why weren’t they endorsed?
ED: The two responsa — that we should simply change the law altogether, that gay sex would not be any more prohibited than straight sex in a marital relationship – each got seven votes, which would normally make them valid options as well. But there’s another procedure in the law committee that says if a majority of committee votes that it is really a takana [an amendment] then it needs thirteen votes to pass, an absolute majority. They were voted takanot, so they were not considered validated opinions.
The writers will submit [their responsa] as a concurring opinions to ours, which means they’re not official positions, but they will be published. People will be able to read them, and they can follow them. Rabbis will take more seriously those teshuvot that will be validated by the committee. But rabbis on their own authority can make their own decisions.
JJ: The 25 members of the law committee vote on all the responsa. One rabbi voted twice — for opposing opinions, upholding the ban and permitting it. What does that mean?
ED: That is an option. At least one person thought that both teshuvot presented reasonable interpretations of Jewish law. That’s the nature of law. It’s not a zero-sum game.
JJ: The UJ’s Ziegler School of Rabbinic Studies has already announced it will begin ordination of gay rabbis. What do you think will happen at the Jewish Theological Seminary in New York and the other seminaries in Budapest and South America? Will they choose to ordain gay rabbis?
ED: Given the fact that both teshuvot got 13 votes, individual seminaries will have to decide if they will adapt one teshuvah or another. We [at the UJ] met with the board and administration in advance of the meeting and decided if they endorsed [my teshuvah] we’d follow that opinion.
It means that there’s room in our Conservative community for those who think that Gays and Lesbians should not be ordained and those who think they should be. Some congregations will choose to interview them, and some will not.
We’re much better off now than we were in 1985, when the first women rabbi was ordained in the Conservative movement, and there are some congregations that still will not accept a woman rabbi. It’s not a happy fact of life. Gays and lesbians understand that our society still has a lot of discrimination against gays and lesbians, and that’s true in the Jewish community as well. Some congregations will choose not to interview people who are gay and lesbian. That seems to me like a very bad thing to do.
JJ: Ziegler became its own school in 1994. Do you think that your teshuvah’s being approved is a symbol of West Coast’s more liberal Jewish values’ influence on the East Coast?
ED: I hesitate to say that because this is not just a West Coast phenomenon.
JJ: People have said that ordaining gays would split the Conservative movement apart. Four rabbis resigned in protest from the law committee. How do you think this multioption answer will affect the Conservative movement as a whole?
ED: The Conservative movement went through the ordination of women a generation ago. We lost far more people on the left in 1968, when the Reconstructionist movement was founded, because we were not moving fast enough to equalize the place of Jewish women. We lost a few people in 1983 [when they voted to ordain women rabbis], and women are 50 percent of the Jewish population. Now we’re talking about gays and lesbians, which are 3 percent to 7 percent of the population. These decisions will not affect most Conservative Jews.
I hope it will attract a number of people to the Conservative movement who have been repelled by our stand on this issue until now, who have gone to more liberal movements.
JJ: Now that the Conservative movement will be ordaining gays, how do you see the Conservative movement differing from the Reform movement, which has become more traditional than it was in the past?
ED: The Reform movement still endorses individual autonomy. Like the Orthodox, we see halacha as being binding. But unlike the Orthodox movement, we understand it as changing and evolving, a legal living system. The fact that we view halacha as binding and the Reform does not translate into practical issues. Ninety-five percent of our services will be in Hebrew. Conservative synagogues will have kosher kitchens. The vast majority of Reform synagogues do not. The majority of Reform children do not go to day schools. Half the Conservative movement’s children go to day school or Hebrew school. It doesn’t seem to me the differences between the two movements are at all immaterial. They’re very material. And I think that’s a good thing. One of the best assets of American Judaism is it has multiple ways to enter Jewish life.
JJ: Anything else you want to add?
ED: What has happened this week is not a sign of a splintered movement, it’s the mark of a movement that cherishes pluralism. Aristotle said that it is unwise to pretend that things are clearer than they are. And I think that is indeed what happened here. We did not pretend the entire movement is behind one opinion or another. We said quite loudly that we have three opinions on the issue. I think the real strength of the Conservative movement is to state that clearly and to live with each other quite nicely. Thank you.
Why the Conservative movement endorsed gays Read More »
Ruth Seymour, general manager since 1978 of KCRW-FM 89.9, is best known to many listeners for her annual Chanukah program, “Philosophers, Fiddlers & Fools,” which will have its final airing on Dec. 15. But Seymour is not stepping down.
“I’m not retiring,” she says over the phone in her classic New York accent. “I’m retiring the show.”
The Chanukah show has been a staple in Los Angeles, which, before its first airing in 1978, had been missing this classic blend of Yiddishkeit: folk music, readings of Isaac Bashevis Singer’s stories, memorials to Holocaust victims, Second Avenue “hit parade” songs.
Much has been made of the humble beginnings of KCRW, a station created after World War II to train veterans for careers in radio, which as late as 1978 was located in a middle school in Santa Monica and famously had the oldest transmitter in the West. Seymour has transformed the station into an institution by creating erudite programs like “Bookworm,” an essential half-hour for any literary Los Angeleno; issues-oriented shows like “Which Way, L.A.?” and political debates, such as “Left, Right & Center.”
Her emphasis on literature and politics is fitting, since Seymour grew up in a home of left-wing Jewish intellectuals in the Bronx. She relates a story in which her mother, upon seeing her tending to the plants outside, asked, “Why are you gardening? You could be reading ‘War & Peace.'”
By now, “Philosophers” fans know the story of how Seymour’s college professor, Max Weinreich, told her that “Yiddish is magic. It will outlive history.”
What many may not know is that some years ago, she received a letter in her mailbox with those words written on the outside of the envelope as a teaser. She opened it and found it was from YIVO, the Yiddish institute that focuses on the study of Jewish culture and literature. Apparently, one of YIVO’s employees had lived in Los Angeles and heard Seymour tell the Weinreich story on the air.
Seymour has always contended that the show should be “ephemeral,” out of deference to the Holocaust victims.
“There wasn’t any way to bring them back,” she says, which is why she has never recorded any of her Chanukah programs.
She has often cited the words of Andre Schwarz-Bart, French author of “The Last of the Just,” who wrote that the Holocaust victims disappeared “like the smoke from the chimneys of Auschwitz.”
Although Holocaust survivors have always wanted to preserve the apparatus of and artwork related to the Holocaust, so as to document the severity of the genocide, Seymour sees radio as being inherently “transitory.”
“There just comes a moment in your life when it’s over. The sources dry up. Do I want to psychoanalyze it?” she asked, “No.”
She adds, “It had a prolonged life, a life of its own.” She said she is astonished that it “touched so many people.”
One person who touched her was Schwarz-Bart, who recently died at 78. He spent time in the concentration camps during the war and wrote “The Last of the Just,” which won France’s highest literary honor, the Prix Goncourt, in the late 1950s.
He “literally seems to have survived to write it,” she says, pointing out that he began writing right after the war, when he was in his twenties, and spent
years working on it in a Paris library, since his home did not have heat.
Not surprisingly, Seymour, who has always paid homage to Schwarz-Bart on her Chanukah show, will do so again in her final segment.
Another author whom she intends to acknowledge in her last show is the late Singer, the only Nobel Prize laureate who wrote primarily in Yiddish. She met Singer many times when she was living in New York.
Seymour’s then-husband, poet Jack Hirschman, who wooed her with a letter from Ernest Hemingway, introduced her to Singer. They would get together in a vegetarian restaurant and discuss astronomy and the kabbalah with Singer and his latest girlfriend, never his wife. Singer fancied concentration camp survivors for dates; interestingly, Seymour says that these young women had “dreams [that] would always be amazingly similar to his stories.”
Seymour says she was never a devotee of radio when she was young, even though she is a contemporary of Woody Allen and was raised in the “Radio Days” era of the late 1930s and 1940s. “I landed totally by accident.”
The accident occurred in 1961, when Hirschman was teaching at UCLA, and KPFK-FM 90.7 came calling, asking for tapes of his work. Seymour provided the Pacifica radio station with the tapes and shortly thereafter, was offered the job of heading up the station’s drama department.
More than a decade later, she joined KCRW.
Although she will stop broadcasting her marquee program, she says she will continue to host programs like “Politics of Culture,” and we will still hear her over the air during fundraising drives. As for “Philosophers,” she says, “It was never something that was conceived to go on for 28 years.”
“Philosophers, Fiddlers & Fools” will air for the final time on Friday, Dec. 15, from noon to 3 p.m. on KCRW, 89.9 FM.
KCRW’s annual Chanukah show lets the light go out Read More »
More than a decade ago, when Gay Men’s Chorus director John Bailey lobbied Iris Levine, chair of the music department at Cal Poly Pomona, to start up a parallel women’s group, she balked. “It wasn’t something I wanted to do,” she said over the phone recently, recalling how Bailey envisioned a large, all-lesbian group.
Later, Levine said, Bailey approached her again, having realized that a women’s group might be different in nature from the men’s group — more intimate and “about being women, not about being lesbian.” With this new premise and a grant from the Gay Men’s Chorus, Levine founded Vox Femina, which will be performing “Nerli,” a children’s Chanukah song, at the 47th annual Los Angeles County Holiday Celebration on Dec. 24 at the Dorothy Chandler Pavilion.
Now in its 10th year, Vox Femina recently staged its season opener, “Defying Gravity: Flying High on L.A.,” focusing on music about the heavens. One song on that bill, “Sky Dances,” also appears on Vox’s new CD, “Still I Rise.”
“Sky Dances” seems emblematic of the music sung by the 38-member women’s group — choral music with lyrics limited to a large extent to the refrain and with an emphasis on high soprano singers. Yet “Still I Rise” also includes the Marvin Hamlisch-Edward Kleban “A Chorus Line” tune “At the Ballet”; a snappy folk-rock number, “Closer to Fine,” and the titular gospel song, “Still I Rise,” all three of which feature soloists, alto singers and, in one case, an acoustic guitar.
Despite its eclectic repertoire, Vox Femina is not to be confused with the Whiffenpoofs, a Broadway chorus or a 1960s girl group. It is not an a cappella group; it almost always receives accompaniment on piano. The members are primarily interested in world music composed by women, not Cole Porter or Bob Dylan.
Levine is not only the founder of Vox Femina, she is also its artistic director. She chooses the themes of the performances, the music and even the singers. She also sometimes does the arrangements of the songs, such as that of “Hinei Mah Tov,” which the group once sang in Hebrew. For that piece, she provided group members with transliterated Hebrew; she herself knows the language from studying at a kibbutz ulpan.
Although Vox Femina will be singing “Nerli” in Hebrew, it is not in any sense a Jewish singing group. The women in Vox come from all backgrounds, not only in their sexuality, but also in ethnicity, race, religion and age. They sing in many foreign languages and even gave one concert entirely in Spanish at Immanuel Presbyterian Church, where they practice.
“We want to give the women of Los Angeles a voice,” said Levine, pointing out that every world song in their repertoire “has a population right here” in Los Angeles. She added that world music is “the music of the people.”
Levine began her musical career by taking the obligatory piano lessons at age of 5 or 6. Later, she sang in or accompanied choruses in high school.
When it came time for her to go to college, her mother encouraged her to pursue her love for music. After getting a B.A. in music at the University of New Hampshire, the Boston native followed up with a master’s degree from Temple University and then a doctorate at USC.
When she is not teaching music to college students or conducting Vox Femina, Levine directs the choir at Stephen S. Wise Temple, a job she has held for nearly two decades.
One gets the sense that she has almost no time for leisure. Given her schedule, it is perhaps not surprising that she had a cold when she spoke to a reporter recently, which affected her voice. But she is not a singer. She is a conductor, arranger, choir director, professor and artistic director, a Renaissance woman of the people.
Vox Femina will perform along with more than 40 other ensembles, including the Gay Men’s Chorus, the TishTones, the Beth Shir Shalom Choir, the Burbank Chorale and the Universal Dance Designs Kennedy Tap Company at the L.A. County Holiday Celebration on Sunday, Dec. 24, from 3 to 9 p.m. at the Dorothy Chandler Pavilion, 135 N. Grand Ave., Los Angeles. For information, call (213) 972-7211 or go to www.voxfeminala.org.
Voices of women loud and proud with ‘Vox Femina’ Read More »
Not long ago, Scott and Shannon Guggenheim’s 4-year-old daughter, Lily, looked up at them and asked when Santa would be bringing her Christmas presents.
“To say that we, as creators of a Chanukah musical, were shocked is an understatement,” recalls Shannon Guggenheim. “[Lily] is already feeling the pull so many Jewish kids feel. She probably went drifting off to sleep dreaming of sugar plum fairies.”
That Chanukah musical, “The MeshugaNutcracker!” is the Guggenheims’ tuneful contribution for children like Lily, who need an antidote to the ubiquitous Christmas blitz that occurs every year.
The Bay Area-based couple co-wrote, produced, choreographed and directed the holiday staple. Drawing on music from Tchaikovsky’s famous “Nutcracker” ballet, “The MeshugaNutcracker!” has been a hit with Jewish families since its 2003 debut in the Bay Area.
Now, says Shannon, the show is expanding its reach, playing cities like Seattle and Scottsdale, Ariz., for the first time this Chanukah. That’s in addition to runs in San Francisco, San Jose, Sacramento and Los Angeles.
This year, six of eight cast members are new, the music has been re-orchestrated to give it a more Broadway feel, and a newly constructed proscenium arch will be in place for opening night.
“It’s an homage to Chagall,” Shannon says of the goat-and-fiddler decorated arch. “We still have the dreidel as the centerpiece. And now we have a dream cast of amazing musicians. In the past we had actors who sing. This year we have singer-actor-dancers.”
“The MeshugaNutcracker!” tells the tale of eight citizens of Chelm, the mythical shtetl of fools, who gather every year to perform at their Chanukah festival. Through the course of the two-act musical, each tells a story of Chanukah heroes from the time of the Maccabees through today.
Shannon wrote the lyrics and Scott directs, while both wrote the musical’s book based on stories adapted by Eric A. Kimmel (author of “The Jar of Fools”) and Peninnah Schram and Steven M. Rosman, (authors of “Eight Stories for Eight Nights”). Stephen Guggenheim, Scott’s brother, provides musical direction.
The musical is just one mainstay of the theatrical couple. Their company, Guggenheim Entertainment, provides entertainment, marketing and support services for corporate and private clients (think “holiday show for the mall”), and their National Jewish Theater Festival develops Jewish-themed stage productions for every audience.
But “MeshugaNutcracker!” holds a special place in their hearts, largely because their own daughter fits the target-audience profile.
“It’s no joke,” adds Shannon. “We say it in the show: ‘Santa has the last laugh/His holiday lasts a month and half.’ I’m not saying what we’re doing is brain surgery, but it occurred to us that it’s a Jewish parent’s cultural responsibility to take their kids to this show. It’s not Tiny Tim or the Mouse King.”
Shannon, a Jew-by-choice, stresses that she and her husband are not engaging in Christmas bashing.
“Santa is a good guy,” she says. “But Jews have something else right here in their backyard. They can say ‘I own that and I am proud of that.'”
Though with each passing year the Guggenheims have taken their show on a longer and longer road, they are reluctant to license the musical to other theater companies. Call it creative control, call it a labor of love, but the two plan on keeping “MeshugaNutcracker!” to themselves for those eight crazy nights and beyond.
However, eternal as the lights of Chanukah may be, the holiday comes around but once on the calendar, which can be a drawback to a theater company.
“Sometimes,” Shannon says with a laugh, “we kick ourselves for having a show that’s only six weeks a year.”
Performances of “The MeshugaNutcracker!” take place at the University of Judaism on Saturday, Dec. 16 at 7:30 p.m.; and on Sunday, Dec. 17 at 1 p.m. and 5 p.m. $35-$50. 15600 Mulholland Drive, just off the 405 Freeway. For more information, call (818) 986-7332 or visit www.kcdancers.org.
No Rat King, no fairies — just one ‘MeshugaNutcracker’ Read More »
For so many Jewish men, it always comes back to fathers and sons, despite what Philip Roth might think.
Look at the films of Daniel Burman, the rising young star of the New Argentine Cinema. “Waiting for the Messiah,” “Lost Embrace” and his latest, “Family Law,” which all revolve around a slightly feckless but well-meaning young man, played in all three by Daniel Hendler, and his relationship with an absent or soon-to-be-absent father.
Burman, 33, is a slender, good-looking brunette with long, arching, graceful fingers that he uses to adjust a cup of coffee on its saucer as he sits in the bar/lounge of a hip downtown New York hotel, answering questions for a parade of journalists. He smiles easily, if somewhat shyly, but carries himself with an earnestness that belies the wittiness of his films.
“We’re kind of shy in my family,” he explains through an interpreter when asked about his father’s reaction to the new film, which centers even more than its predecessors on the father-son relationship. “We react with understatement to everything. But when my father saw the film at the Berlin festival, he seemed pleased.”
Burman comes from a family full of lawyers, including his father. Like the father-and-son lawyers who are at the heart of “Family Law,” he worked in his father’s office, and he did go to law school briefly, but abandoned that career after less than a year.
“My family was very supportive of my career choice,” he says. “After all, I was already earning a living from film.”
One way he paid back his family’s support is in the affectionate portrait of Perelman, Sr. (Arturo Goetz) in “Family Law,” which he readily acknowledges was based largely on his father.
Does that mean that Hendler has been Burman’s alter ego through the unofficial trilogy of films on which they have collaborated?
“It’s hard to say,” he says with a slight wince. “There are some things we have in common. But we don’t share the same ego.”
His next project, a comedy about an older married couple who are struggling with the “empty nest” syndrome, will take him away from the trilogy, but he readily acknowledges that he will probably come back to Hendler and to his own growth in a few years, “maybe five, maybe 10.”
It’s an actor-character-director relationship that echoes the odd triangulation of Francois Truffaut, Jean-Pierre Leaud and the fictional Antoine Doinel, the Truffaut-like protagonist of “The 400 Blows,” “Stolen Kisses” and “Bed and Board” among others.
That comparison tickles Burman immensely.
“I like Truffaut very much,” he says, beaming.
He is less sanguine about the frequent comparisons between his work and that of Woody Allen.
“It certainly doesn’t offend me,” he says. “A dream of mine is to present Woody Allen with DVDs of my films. But it’s not a fair comparison. We’re very different filmmakers.”
Certainly Burman’s characters are much less conflicted about their Jewish identity. They wear it with a casualness that is, quite frankly, alien to Jewish-American film.
“I think my parents taught me to enjoy being Jewish,” he says. “It’s not just about following rules or singing songs. It’s not as easy as just not eating ham. In the United States people seem to take a defensive attitude about being Jewish. For me it’s so intimate that I don’t need to express it all the time. It’s not damaged by the banality of daily life.”
Indeed, one might say that by its very nature, Jewish observance is defined by — and defines — daily life. Appropriately, that focus on daily life in all its ordinariness is a large part of Burman’s films, and that points up another place where he parts company with Americans.
“It seems contradictory, but the banality of daily life makes the dramatic incidents invisible,” he opines. “Life is not like it is in most American films, where something dramatic happens every few minutes. [In real life] the big existential themes express themselves in the everyday.”
Burman says that his writing is an outgrowth of that condition.
“When I write I don’t think about those things. It’s reflected in the mirror of the characters.”
“Family Law” opens Friday, Dec. 22 at the Laemmle Music Hall 3 and Laemmle Town Center 5.
Alys Willman-Navarro assisted in this article by translating during the interview.
Films: The trials and tribulations of fathers and sons Read More »
“Old Jewish Comedians,” illustrated by Drew Friedman, edited by Monte Beauchamp. (Fantagraphics Books, $14.95) www.fantagraphics.com .
“Weep before God. Laugh before people.”
— Jewish Folk-Saying.
Who doesn’t love old Jewish comedians? Those mamzers of mirth and halutzim of humor who paved the road from the Catskills to Vegas as first-generation entertainers. Now comes “Old Jewish Comedians,” a book to honor these slapsticklers and ticklemen of the 20th century. Thirty-two pages of funny faces (all guys), the book is “An Illustrated Gallery of Jewish American Comedians, Comics, Comic Actors, Clowns, and Tummlers Depicted in the Sunset of Their Years.” Artist Drew Friedman’s portraits cover the greats and the greatly forgotten, from George Burns and Buddy Hackett, to Benny Rubin and Joe Smith.
Friedman, whom I first enjoyed for his funny illustrations in SPY Magazine, and whose work currently is seen in MAD, the New York Observer, Los Angeles Magazine and other publications, said that none of the comedians posed for him.
“I have a fairly extensive photo file which was very helpful,” he said.
He’s collected pictures of comedians since he was a child. (Bruce Jay Friedman, the author’s father, appears in “Old Jewish Comedians” in a photo from 1940 in the Catskills with comedian Jackie Miles.)
“Rich reality” is how Leonard Maltin describes Friedman’s style in his foreword. Included in the book are the real names for these “show-business survivors” as Maltin calls them: Shecky Green/Sheldon Greenfield, Freddie Roman/Fred Martin Kirschenbaum, Rodney Dangerfield/Jacob Cohen, Henny/Henry Youngman, et al.
Unfortunately, the only writing in “Old Jewish Comedians” is Maltin’s foreword.
“I didn’t want it to be ‘history’ book,” Friedman explained. “There are already those out there. I wanted their styles to be illustrated in their faces and the context of the drawing. Maltin’s intro puts everything into historical context.”
So where to go if you want to learn more about these Jewish jesters? The ones who didn’t make it because comedy was less marketable back then, 50 years before HBO, Showtime, Comedy Central and clubs expanded stand-up venues are described in detail by Betsy Borns in her 1987 treatise, “Comic Lives.” Most never even flashed the free- wheeling coffeehouse style that Gerald Nachman recounts in “Seriously Funny: The Rebel Comedians of the 1950s and 60s.” (Shelley/Sheldon Leonard Berman being the exception, appearing in that 2003 book and this one.)
To really evaluate the book, I went to 92-year-old Irving Brecher. After all, Brecher is old, Jewish and he has not only done stand-up, he wrote for some of Friedman’s alter kackers, like Milton Berlinger (Berle, on the cover), Nathan Birnbaum (George Burns, inside cover), and the Marx Brothers (Julius, Adolph and Leonard, middle two pages of book.)
Book open, over split pea soup and half a pastrami on rye at Label’s Table on Pico Boulevard, I quizzed Brecher about “OJC” who never found the fame of a Moses — Harry Horwitz/Moe Howard or Jerome Levitch/Jerry Lewis, a Jack Chakrin/Jack Carter or Archibald Donald Rickles/ Don Rickles, et al.
— Irv, here’s Harry Joachim.
“That’s Harry Ritz of the Ritz Brothers. Harry was the only one who was talented. Al and Jimmy were nothing.”
— Menasha Skulnik?
“That’s his real name. Great Yiddish comedian. The Yiddish theater was a remarkable place. I wish you’d seen it.”
— Joseph Seltzer?
“Joe Smith of Smith & Dale, the famous vaudeville team. They made a movie called “The Heart of New York,” which is a museum piece. For collectors.”
— Abraham Kalish?
“Al Kelly. Al did double talk. That was his style. He spoke gibberish in vaudeville sketches and all the people would try to be polite.
— While he mocked them?
“No, not mocking them. The audience would laugh. But people in the real world he dealt with would be taken in.”
— Sounds like what Borat does!
“Haven’t seen it. But most comedians couldn’t do it like Al Kelly could. He was unique.”
— Here’s a fellow named Ben Rubin…
“Benny Rubin used to work for me! When he was up in vaudeville. I’d give him a part in “The Life of Riley” radio show. In Hollywood, when they wanted a Jew with a long nose, they’d hire him. The lousy Hollywood producers. He’d make $150. I’d never use a character with a Jewish accent. Like Jack Benny [Benjamin Kubelsky] did with ‘Mr. Schlepperman.'”
— He used a thick Jewish accent?
“I hated it, that very stereotypical annoying character.
— Who played him?
“Artie Auerbach. Listen, do they have Jan Murray in this book?”
— No.
“I’m surprised.”
Friedman said not to worry; Jan Murray/Murray Janofsky will appear in the sequel, “More Old Jewish Comedians,” due in 2008.
Brecher said he hopes the sequel has a bit, or routine, a catchphrase, something from each comedian to go with the pictures.
Books: Shmegegis of old, shmegegis of gold Read More »
“Storm of Emotions,” a documentary on the agonizing evacuation of Jewish settlers from their Gaza Strip homes, is the first Israeli production in decades to have a serious shot at Oscar honors.A close-up and personal account of the “disengagement” operation in August 2005, the film has been short-listed among the 15 contenders in the best documentary feature category by the Academy of Motion Picture Arts and Sciences.
The five finalists will be announced Jan. 23, and the winner at the 79th Academy Awards on Feb. 25.
When Prime Minister Ariel Sharon ordered the unilateral evacuation of some 8,000 mainly Orthodox Jews living in 21 Gaza Strip settlements, he handed the Israeli police primary responsibility for conducting the highly controversial and emotional operation in a “sensitive but firm” manner.
With backup from army units, 13,000 uniformed men and women were mobilized for the assignment, and, after a week of sensitivity and crowd control training, were ready for action.
Director Yael Klopmann embedded her camera crew among the police units ordered to clear the settlements in the Gush Katif bloc in the southwestern corner of the Gaza Strip, including Katif, Neve Dekalim, Kfar Darom, Shirat Hayam and Atzmona.
It was veteran cinematographer Klopmann’s first feature production as director, and her job wasn’t made any easier by being nine months pregnant when the action started.
“Storm of Emotions” (“Seharat Regashot” in Hebrew) is subtitled, “A Story of Brothers in Heart,” and Klopmann avoids a simplistic good-vs.-bad guys storyline.
However, it is obvious from the 106-minute documentary that Klopmann greatly admires the restraint and professionalism of the police units, confronted by signs and curses of “You look like Nazis,” “You’re doing what the terrorists couldn’t do” and “God will not grant you absolution.”Throughout, the police apparently kept their admirable cool.
On the other hand, there is no way to minimize the anguish of the settlers, as they are evicted from the homes and farmlands they had laboriously wrested from the desert, bodily carried out of their synagogues and their children forced to abandon their lovingly constructed schools and playgrounds.
There are memorable scenes: Policemen and settlers openly weeping together as they join in carrying Torah scrolls out of a synagogue and a farmer filling a bottle of sand as a permanent reminder of his lost land.
On a lighter note, a very professional (and pretty) platoon leader, Sgt. Nofar Cohen, takes a break by surfing in the Mediterranean, looking for a moment like any carefree Malibu chick.Toward the end of the three-day operation, police meet their fiercest resistance at Kfar Darom, where well-prepared settlers mount a last stand on the roof of their synagogue, fortified with barbed wire.
The police finally storm the redoubt with water cannons and scaling ladders, but it is to the credit of both sides that not a single life was lost during the Gush Katif evacuations.
There was a golden era in the last two decades of the 20th century, particularly in the 1990s, when documentaries on Jewish and Holocaust themes all but monopolized the list of Oscar winners, with such titles as “Genocide,” “Anne Frank Remembered,” “The Last Days” and “Stories of the Kindertransport.”
Since then, academy voters have favored more offbeat subjects, such as “March of the Penguins” last year, and “Born Into Brothels” the year before.
To clutch the Oscar statuette on Feb. 25, producers Jim Abrams and Micky Rabinovitz of “Storm of Emotions” will have to beat some formidable competition, including Al Gore’s global warming warning, “An Inconvenient Truth,” and four hard-hitting films on the Iraq war.
For more information, visit www.stormofemotions.com.
Films: Oscar buzz surrounds Israel ‘Disengagement’ documentary Read More »