fbpx

November 2, 2016

Democrats, Republicans see opportunities in tightening race

This article originally appeared on “>tracking poll showed Trump leading Clinton 46 percent to 45 percent, recovering from a 12- point deficit last week. Several swings state polls also suggest a close race in most states listed as must-win for the Rpeublican nominee.

The race tightening amid recent revelations over Clinton’s private email server saga has forced the presidential candidate to tweak their closing arguments, change their relatively light schedule on the campaign trail, and work as hard as they possibly can to rally their base in an attempt to close the deal.

Sticking to the script and keeping Clinton’s feet to the fire, Trump did his shtick, citing favorable poll numbers – “I’m winning all over” – as a tactic to energize his base with a narrative that there’s still a chance to pull this off and shock the political world. He also spent time warning voters of electing Clinton. “The investigation will last for years. Nothing will get done. Government will grind to a halt and our country will continue to suffer,” Trump said in Michigan on Monday. “Hillary’s corruption is a threat to democracy, and the only way to stop is for you to show up at the polls on Nov. 8 and vote.”

Clinton, meanwhile, shifted the focus back to Trump’s character and misogynist comments as part of a last-minute ‘gevald’ campaign to save the country.

“Donald Trump’s strategy is to get women to stay home, young people to stay home, people of color to stay home. That’s more than half the population. But it’s all part of his scorched earth campaign,” Clinton told supporters at a campaign rally in Sanford, Florida on Tuesday. “So do you know the best way to stop him? By showing up and voting and getting the biggest turnout in history. If we can keep this up, there is no doubt – if we vote, we win.”

The question remains whether Trump can make up the gap with a last-minute flock to polls by voters seeking change and bring home enough Republicans to score an upset, or will Clinton manage to stop the bleeding, maintain her lead in most toss-up states, and bring out her coalition to deny Trump from getting to 270 electoral votes.

For Clinton supporters and Never Trump Republicans, the most acceptable scenario is Trump losing by 2-3 percentage points – close enough for Trump to avoid an embarrassing historical loss, but sufficient to prevent him from contesting the results and refusing to concede.

For Democrats, while the impact of the recent revelations is significant for down-ballot races, it doesn’t help Trump winning the elections. And that’s good enough given the circumstances.

“It’s hard to see, after all he’s been through and the charges leveled against him, a clear path to 270 electoral votes. That’s the key issue, ” Democratic strategist Hank Sheinkopf told Jewish Insider on Tuesday. “Hillary has solidified her base, women are entirely motivated, and Trump’s problems are not insignificant. He can’t have this kind of revelations, even if they are 20 years old, thrown against him and survive. And he has not run the best campaign.”

On the other side of the aisle, most anti-Trump Republicans want to see him lose the presidential race, but not get crushed in order to save the Senate.

“The FBI news appears to be dampening Democrat enthusiasm, which could be enough to push Republicans over the finish line in close Senate races,” said Republican Jewish attorney Charlie Spies.

Trump, according to Spies, has refused to significantly finance his campaign and “doesn’t have the infrastructure to take advantage of good news.”

Democrats, Republicans see opportunities in tightening race Read More »

Voting the Jewish way

For those of us in California this election season, we all know that this ballot is long. It’s not just the election, it’s all the propositions.  Seventeen from the State of California, three from LA County, and three more from the city.  If your counting, that’s twenty-three propositions to vote. !  Many people I know, however, start out voting all excited for their top candidate or two, but then get fatigued by the end of the ballot.  I know some voters who just start checking off names and such at the bottom of the ballot because they like the way they sound, or worse, they stop voting after national race.    

To fight the fatigue, I suggest vote the Jewish way.  Here’s how: In the universe of our obligations, it’s our local obligations that always that are the source of our first considerations.  The rabbis believed this when it comes to the allocation of the tzedakah, or charity “Between the poor of your town and the poor of another town, your town takes precedence” (T.B. Babba Metzia 71a).  The same is true for political engagement.  One is obligated first to fight against the sins of his or her household, then the city, and then the rest of the world. (T.B. Shabbat 54a).  Let’s use that same logic to the ballot.  Begin at the back.  Vote on the most local issues first.  Even though they don’t get great press, the local ballot measures will have the greatest impact on our  lives in the shortest amount of time. We should spend our most attentive moments on our city and then move out from there.   Most of us already know who we are voting for President.  Consider the national election the finish line, not the starting line for our civic engagement.  

Read the ballot like we read our bible, go from right-to-left.  From our local concerns to our national concerns.  It’s the Jewish way to read a book and the Jewish to vote. 


Noah Farkas is Associate Rabbi at Valley Beth Shalom in Encino, CA.

Voting the Jewish way Read More »

A paperclip from Voices of the Generations

It is just a small town in the middle of nowhere, USA but its impact is now worldwide.  And it is all because of a paperclip.

Whitwell, Tennessee is a town of 1600 people just north of the Georgia border.  

Half of their population are children who attend the one elementary, middle and high school. Many of the adults who used to work for the mining company now have to travel to Chattanooga for jobs.  

And yet, this town has developed a unique and successful Holocaust education project.   It moved me tremendously when I was asked to bring my program, Voices of the Generations, to Whitwell. 

When students in Whitwell first learned about the Holocaust the number of six million was very difficult for them to grasp, let alone understand.  Voices of the Generations teaches about the Holocaust through the story of one woman and one family, my own.  In 1998 Whitwell teachers and students came up with a different approach.   They decided to collect 6 million paperclips one for each soul.  In 2001 the school dedicated a children’s Holocaust Memorial that includes a German rail car which houses a portion of the 30 million paperclips they eventually collected. Today, students guide visitors through the boxcar and the small museum.

When I spoke about my mom’s story to the entire middle school they had been well prepared by teacher Sandra Roberts.  Hanna and Walter A love Story, my parents’ book will now be part of the Holocaust Studies Program at Whitwell.

It was an incredibly moving experience for me to be there at Whitwell to speak and learn from them as I hope they learned from Voices of the Generations.  They both are important techniques, unique each in its own way for trying to understand the enormity of the Holocaust.

A paperclip from Voices of the Generations Read More »

UCLA exhibition recalls Jewish glory days in Boyle Heights

Visitors to UCLA soon will be able to step back in time, to an era when Cesar Chavez Avenue was named Brooklyn Avenue, the delicatessens sold pickles out of barrels and Yiddish was a commonly spoken language. 

The UCLA Alan D. Leve Center for Jewish Studies is celebrating its formal renaming and dedication with an exhibition devoted to the Jewish community of Boyle Heights from the 1920s to the 1950s. 

“From Brooklyn Avenue to Cesar Chavez: Jewish Histories in Multiethnic Boyle Heights” will be open at UCLA’s Royce Hall for a short run from Nov. 6-9. The pop-up exhibition will include a screening of the recent documentary “East LA Interchange” on Nov. 6, followed by a conversation between director Betsy Kalin and former Boyle Heights residents Leo Frumkin and Don Hodes.

UCLA’s Center for Jewish Studies changed its name in March 2015 after receiving a $5 million gift from Alan D. Leve, a UCLA alumnus and the founder and president of Culver City-based Ohmega Technologies. Leve’s grandmother, Hinda Schonfeld (born Hinda Schacter), who died in 1941, was a beloved figure in the Jewish community of Boyle Heights. Leve’s parents and grandparents lived in Boyle Heights beginning in the late 1920s and were members of the Breed Street Shul, and Leve was born in the neighborhood. 

The UCLA endowments funded by Leve are meant to support undergraduate awards, graduate fellowships, and travel and research grants in Jewish studies. In addition, part of the gift established the Hinda and Jacob Schonfeld Boyle Heights Collection, whose launch is being marked by the current celebration. It will collaborate with the UCLA Library to gather and preserve artifacts and ephemera related to the history of Boyle Heights. 

“We seek out hidden reservoirs of materials and memories out in the community, and really try to place those historical materials in context, so that we are not only delivering easy access to those materials but we’re engaging them through scholarly questions,” said Caroline Luce, chief curator for UCLA’s Mapping Jewish L.A. project. 

The upcoming exhibition is part of the broader Mapping Jewish L.A. initiative, which has tracked how Jews have shaped the landscape of Southern California and how the region has impacted the Jewish community. 

In the 1930s, Boyle Heights was home to roughly 10,000 Jews, about a third of the city’s Jewish population and the highest concentration of Jews west of the Mississippi. But the population was also integrated in the community. It was one of the most multiethnic and diverse neighborhoods in Los Angeles, and anywhere the country, with large concentrations of Mexican, Japanese, Armenian, Italian, Russian and African-American residents. 

One of Luce’s ongoing projects is a mapping of the 1930 census in Boyle Heights to track residential patterns. Her research looks both at the Jewish history of the neighborhood and “how that diversity shaped and informed that Jewish history in ways that made it distinct from other immigrant neighborhoods elsewhere,” she said.

Another focus of the research that will appear in the exhibition is on health-seeking immigrants. Patients from around the country flocked here in search of relief from rheumatism, asthma and tuberculosis. City of Hope and Cedars-Sinai Medical Center both started as Jewish hospitals for tubercular patients. And before merging with Cedars of Lebanon, Mount Sinai hospital built an outpatient clinic in Boyle Heights, just a block from the Breed Street Shul.

Boyle Heights also was known as a hotbed of radical activism, with socialist, communist and anarchist thinkers and labor organizers living there. During the crackdown on communist-affiliated groups in the 1950s, many of these radicals destroyed any incriminating evidence. Luce says that has presented challenges in telling the story of the Jewish experience of Boyle Heights through surviving artifacts.

“Unfortunately, a lot of the stuff doesn’t get in there,” she said, “because there just aren’t historical documents and archival records that would allow us to tell those stories.”

“From Brooklyn Avenue to Cesar Chavez: Jewish Histories in Multiethnic Boyle Heights” includes displays relating to three organized protests in the neighborhood. One of them, in 1945, was organized to protest notoriously anti-Semitic and white supremacist preacher Gerald L.K. Smith, who was given a permit by the Los Angeles School Board to speak at Los Angeles Polytechnic High School. Frumkin, who was one of the student organizers, will speak at the UCLA exhibition. 

Among the artifacts that will be on display at UCLA are a Yiddish typewriter used to write articles for a communist Yiddish newspaper called Morgen Freiheit (Morning Freedom), the shtender (pulpit) from the Breed Street Shul, and a letter from actress Mae West, who gave money in the 1940s to the Los Angeles Jewish Home, whose first permanent structure was in Boyle Heights. 

Luce pushes back on the commonly held belief that Jewish residents of Boyle Heights were poor, unskilled immigrants who only spoke Yiddish. Many had already been in the United States for a decade or longer before settling there; they came with a fluency in English, enough wealth to buy homes in the hills of City Terrace, and soon became small-business owners or skilled craftsmen, she said.

“Life in Boyle Heights often involved home ownership, ownership of cars, and in some way it was more like life in the suburbs than it was like life in the densely crowded, urban, industrial neighborhoods where many of the Jewish immigrants who settled there had come from,” Luce said.

While Yiddish was a common language among Jews in the neighborhood, many could get by just fine with English. Continuing to speak their mama loshen, their mother tongue, and sending their children to Yiddish-language schools “was something very vital and important to them, to be preserved and maintained and cultivated,” Luce said. The popularity of Yiddish literature and Yiddish social clubs in Boyle Heights had more to do with maintaining a group identity, she said.

Also on display will be a sample of the petition that was sent to the city in 1954 to protest the route of the Golden State Freeway, written by a woman who had lived in the neighborhood since 1881. The signatories include people from a variety of ethnicities. Their appeal was rejected, and all of their homes were bulldozed and their families displaced. 

Freeway construction eventually displaced some 10,000 residents of Boyle Heights. The post-war era saw an exodus of Jews and other groups from the area, as racially restrictive housing covenants in previously all-white neighborhoods began to lift. From 1940 to 1955, the Jewish population in Boyle Heights declined by more than 72 percent.

The UCLA exhibition explains how the exodus from Boyle Heights caused the property tax base of the neighborhood to plummet. But just as the neighborhood banded together to oppose Nazism and fascism in the 1930s and ’40s, the mostly Latino residents of Boyle Heights joined together in the 1980s and ’90s to fight urban renewal projects. 

In 1994, Brooklyn Avenue was renamed Cesar Chavez Avenue, a signal that the Jewish era of the neighborhood was over. But even the new name hinted at the past. Chavez was trained as an organizer by the Community Service Organization, a Latino civil rights group that was established and funded with support from Jewish radical Saul Alinsky. It’s these types of stories, researched by Jewish studies scholars at UCLA, that illuminate the history of Boyle Heights — and of L.A.’s Jewish past.

“From Brooklyn Avenue to Cesar Chavez: Jewish Histories in Multiethnic Boyle Heights” will be held Nov. 6-9 at UCLA’s Royce Hall. For more information, visit this story at jewishjournal.com.

This article was made possible with support from California Humanities, a nonprofit partner of the National Endowment for the Humanities. Visit UCLA exhibition recalls Jewish glory days in Boyle Heights Read More »

Palestinian teen sentenced to life in prison for murder of Dafna Meir, mother of 6

The Palestinian teenager who murdered Dafna Meir, a mother of six, in her West Bank home was sentenced to life in prison.

The teen, who was 16 at the time of the murder, was sentenced Wednesday by a West Bank military court that also ordered him to pay nearly $200,000 to the family in compensation. The court also recommended that authorities prevent an early release due to the unusually cruel nature of the crime.

He was arrested two days after the Jan. 17 murder in Otniel and confessed to the killing during an interrogation, the Shin Bet security service said at the time of his arrest. He was indicted in February and convicted in May of murder and illegal possession of a weapon.

Meir, 38, was stabbed to death at the entrance of her home while fighting off her attacker in what is believed to have been an attempt to save three of her children in the house. She was the mother of four children and foster mother of two young children. Her 17-year-old daughter was able to give security officials a description of the assailant, who fled after he was unable to remove the knife from Meir’s body.

The teen watched Palestinian television broadcasts that incited against Israel and said Israel was “killing young Palestinians” before he allegedly committed the crime, the Shin Bet said.

The teen returned home after the murder and spent the evening with his family watching a movie, according to the indictment.

Palestinian teen sentenced to life in prison for murder of Dafna Meir, mother of 6 Read More »

HBO mum on status of Ari Shavit book documentary

HBO is not discussing the status of a documentary project based on a book by Ari Shavit, the Israeli journalist who in the past two weeks has been accused twice of sexual harassment.

Asked by Variety whether the documentary project will go forward in the wake of the accusations, HBO declined to clarify. A representative for the cable network’s chairman, Richard Plepler, told Variety in an email that “there is nothing more to say at this time except that this project is in the post-production/editing stage.”

HBO announced in 2014 that it was developing “My Promised Land,” a 2013 best-seller, as a documentary.

The book, which carries a full title of “My Promised Land: The Triumph and Tragedy of Israel,” is part memoir and part a tracing of the history of Israel and the roots of the Israeli-Palestinian conflict.

Shavit acknowledged that he was the unnamed Israeli journalist accused of sexual assault by a Jewish-American journalist Danielle Berrin in a column published Oct. 19 in the Jewish Journal of Los Angeles. Berrin had not not named Shavit, but her descriptions of the “accomplished journalist from Israel” who allegedly assaulted her led some to speculate that she was referring to the Haaretz columnist.

Shavit on Sunday resigned from his positions at Haaretz and Channel 10 after a second unnamed woman formerly associated with J Street also leveled sexual harassment accusations against him.

In a statement released Sunday, Shavit wrote: “I am ashamed of the mistakes I made with regards to people in general and women in particular. I am embarrassed that I did not behave correctly to my wife and children. I am embarrassed about the consequences of what I did.

He said he would “devote more time to being with my wife and children, who are most valuable to me, and to make personal amends.”

Meanwhile, critics of J Street criticized the group for not alerting other groups to Shavit’s alleged behavior. In addition, a  group of academics and rabbis called the Committee on Ethics in Jewish Leadership also issued a statement criticized J Street for keeping quiet about Shavit.

“We are deeply disappointed that J Street reportedly failed to alert any other Jewish groups about [Shavit’s] behavior,” the group wrote. “Keeping quiet is not the way to combat sexual harassment.”

HBO mum on status of Ari Shavit book documentary Read More »

Jewish Federations board approves first-ever West Bank trip

The Jewish Federations of North America (JFNA) for the first time has approved travel to the West Bank for an Israel trip falling under its jurisdiction.

Six months ago, the JFNA absorbed an organization called the Israel Action Network (IAN), which leads trips to Israel that include visits to the West Bank. During an Oct. 26 conference call, the JFNA board of trustees voted to alter its travel policies to allow these trips to continue.

“The JFNA Board of Trustees approved a number of appropriate and necessary protocols to support the advocacy and education trips of the IAN,” JFNA associate vice president Rebecca Dinar wrote in a statement emailed to the Journal. “This vote ensures that IAN will continue to travel to Israel and the surrounding areas not historically visited by JFNA staff.”

IAN was created in 2010 as a collaboration between JFNA and the Jewish Council for Public Affairs as a response to anti-Israel sentiment, but before this year it operated outside JFNA’s organizational structure.

Though the recent vote was called specifically to address IAN missions, it raises the question of whether other trips organized under the JFNA umbrella could soon visit the West Bank. 

The vote came immediately after two festival days — Shemini Atzeret and Simchat Torah — when observant Jews disconnected from their phones and emails. The urgency seems to have been due to an upcoming IAN trip that was set to depart from New York on Oct. 30. Trustees were informed about an upcoming conference call and vote the day before it took place in an email from JFNA President Jerry Silverman.

Silverman wrote in the email, “The call will center on a proposed adjustment to JFNA’s historic policy which prohibits mission travel to areas controlled by the Palestinian Authority [PA].”

The email made specific reference to the IAN’s Interfaith Partners for Peace trip, which takes non-Jewish clergy to PA areas such as Bethlehem.

After a review, Silverman wrote, JFNA staff determined “authorizing the entry of IAN missions into the PA is in the best interest of the federation system.”

But the email seemed to suggest the vote would reach further than just the IAN missions.

“The Board will also be asked to authorize the entry of JFNA missions, including federation community missions planned through JFNA, into Israeli-controlled territories beyond the Green Line (e.g., Ariel or Gush Etzion, etc.),” Silverman wrote.

Because the discussion was “deemed privileged information,” according to the email, JFNA officials wouldn’t say if the board took action on the type of broad policy change suggested by Silverman’s message. However, the issue could arise at JFNA’s upcoming General Assembly in November. 

Along with trips organized by its local affiliates like the Jewish Federation of Greater Los Angeles, JFNA leads regular trips to Israel, such as one from young leaders and another for LGBT individuals.

Jewish Federations board approves first-ever West Bank trip Read More »

Schoenberg finds right combo for a concerto like no other

Talk to some contemporary composers about past greats like Mozart or Beethoven and their eyes glaze over. Perhaps it’s a self-protective reaction. Who wants to feel these titanic spirits hovering over them while trying to create something individual and fresh? 

But for composer Adam Schoenberg, the past is just another resource. 

“The more you know about who came before, the more well-rounded and less isolated you become,” Schoenberg told the Journal recently at a West Hollywood cafe. “Today we’re experiencing a renaissance in new music. Composers of my generation and younger can really express themselves in any manner they want.”

A case in point is Schoenberg’s unusual triple concerto “Scatter,” for double bass, flute and cello. The single-movement, 18-minute score, which employs electronics, will be given its West Coast premiere by PROJECT Trio and the Los Angeles Chamber Orchestra, led by French conductor Alexandre Bloch at the Alex Theatre in Glendale on Nov. 12. The program, with “Scatter” sandwiched between Mozart’s Symphony No. 38 (“Prague”) and Mendelssohn’s Symphony No. 3 (“Scottish”), repeats the following evening at UCLA’s Royce Hall.

At 35, Schoenberg, a professor at Occidental College in Los Angeles, where he runs the composition and film scoring programs, is among the most performed composers of his generation. Over the years, Schoenberg has received commissions from more than two dozen American orchestras. “Scatter” was commissioned by four orchestras, with the L.A. Chamber Orchestra being the first to sign on.

Schoenberg wrote “Scatter” for PROJECT Trio, the three-piece chamber ensemble whose unique combination of instruments — Peter Seymour’s double bass, Greg Pattillo’s flute and Eric Stephenson’s cello — attracted him. Next he is writing a concerto for two pianos and then a more customary violin concerto for soloist Anne Akiko Meyers. “Usually a composer’s first concerto is for piano or violin,” Schoenberg said, “I’m going about concerto writing in the wrong order.” 

In addition to using the classical music idiom and a traditional orchestra, “Scatter” moves dynamically from pop, funk and fusion to electronic sounds made by a computer played by a percussionist in the orchestra.

For Seymour, PROJECT Trio’s double bassist, Schoenberg’s well-crafted mix of styles does more than just generate striking contrasts. “Adam’s music blurs the line between classical and the sounds of today,” Seymour said. “He captures our style and performing energy, and the other-worldly use of electronics creates new textures.”

Though the score doesn’t allow much room for improvisation, Schoenberg composed it by initially letting rip an improvisational flow of possibilities on piano. He said he believes in the power of the subconscious, which he called “a pure place.” What surfaces from the subconscious, however, doesn’t necessarily make an effective piece of music — a lesson Schoenberg learned from his father, Steven, a composer, songwriter and pianist. (Father and son collaborated on the score to the 2012 movie thriller “Graceland.”)

“I’m an intuitive composer,” Schoenberg said. “But as my father likes to say, improvisation is not a composition. Material emerges that has to be selected and developed. I record hours of improvisation. It’s about tapping into a deep emotional space that makes you feel something powerful and moving. That’s when I know I’ve found something meaningful.”

As an example, Schoenberg cited the end of the second section of “Scatter,” where the orchestra builds in an angular, jagged manner, finally reaching what he called “a bang.”

“You feel the audience,” he said. “They weren’t breathing for a moment. That’s the power of music.”

Schoenberg graduated from the Oberlin Conservatory of Music in Ohio, where he felt alienated because he was writing tonal music — judged unfashionable at the time. He later studied with composers John Corigliano and Robert Beaser at the Juilliard School, where he wrote his thesis on film composer Thomas Newman. 

“At Oberlin, I didn’t feel as free to grow and evolve my own aesthetic,” Schoenberg said. “My scores came back with red ink. But at Juilliard, Corigliano and Beaser encouraged me to trust myself and explore the possibilities of writing for an orchestra as efficiently as possible.”

Though he started on piano at age 3, Schoenberg said he wasn’t sure he wanted to become a composer until college. Aside from his father being a composer, the pull of destiny may also have played a part in his eventual commitment to the art.

For one thing, it didn’t hurt having the Schoenberg surname. Like the demanding 20th-century Austrian 12-tone composer, Arnold Schoenberg, who eventually settled in Los Angeles, he’s also Jewish and a composer. As far as he knows, the connection ends there. He’s awaiting the results from a Schoenberg DNA test, due in mid-November. 

To his surprise, a genealogy tree indicated that he’s a distant relation to George Gershwin. Since his aesthetic is generally closer to composers like Gershwin and Aaron Copland — spirited, optimistic, rhythmic and richly colored — that lineage would be more apt, Schoenberg said. “I also feel a deep connection to Leonard Bernstein, Corigliano, Steve Reich and Thomas Newman,” he added. 

Schoenberg is also clearly drawn to French music: “I like the control and meticulous craft of Ravel and Henri Dutilleux, of Marc-André Dalbavie and Guillaume Connesson.”

Whatever Schoenberg’s influences, an invigorating quality characterizes his music, from orchestral works like “Finding Rothko” (2006) and “American Symphony” (2011) to “Picture Studies” (2012), inspired by Modest Mussorgsky’s famous “Pictures at an Exhibition,” and “Bounce” (2013), which was performed by the L.A. Philharmonic and local dance troupe BodyTraffic at the Hollywood Bowl in September.

“I want my music to reflect hope and beauty in the world, but it also needs to challenge both the audience and the orchestra,” Schoenberg said. “If you write what you think other people want to hear, you’re not going to win people over. Be honest and the power of your belief will win them over.”

For more information or to listen to Adam Schoenberg’s “Scatter,” visit this story at jewishjournal.com.

Schoenberg finds right combo for a concerto like no other Read More »

‘By Sidney Lumet’: A conscientious filmmaking mensch, in his own words and images

“I love rebels,” filmmaker Sidney Lumet declares in Nancy Buirski’s new documentary, “By Sidney Lumet.”

Indeed, the documentary derived from a series of interviews with the Oscar-nominated director before his death reveals how his impoverished 1930s childhood in the Yiddishist-socialist milieu of New York’s Lower East Side informed his progressive outlook. Lumet (1924-2011) recalls how radical union activists battled against repressive employers in the neighborhood; how everyone in his small apartment bathed in a basin in the kitchen; and how his father, Baruch Lumet — a Yiddish theater star who performed a weekly Jewish soap opera on the socialist radio station WEVD — earned $35 a week to support their family through the Depression.

Baruch Lumet read Shakespeare’s “Hamlet” to his son in Yiddish before Sidney heard it in English. The younger Lumet joined his father on the Yiddish stage from the age of 5 and eventually became a child star on Broadway. He went on to serve as a radar technician in India and Burma during World War II before breaking into television and then feature films in the 1950s.

Lumet has been hailed as one of cinema’s most ethically obsessed directors, having created film after film probing the consequences of injustice and lone heroes who stand up against corruption. The New York Times’ Manohla Dargis called him “one of the last great movie moralists.”

Lumet’s first movie, “12 Angry Men” (1952), stars Henry Fonda as a determined juror who manages to convince his fellow jurors that a murder defendant is innocent. “Serpico” (1973) revolves around a police officer (Al Pacino) who refuses to take bribes and reveals widespread corruption in the New York Police Department. And “Network” (1976) spotlights a television anchor who rails against societal ills and famously proclaims, “I’m mad as hell and I’m not going to take it anymore.” In “Dog Day Afternoon” (1975), inspired by a true story, Lumet shifted his focus to follow an antihero, played by Pacino, who robs a bank in order to fund his lover’s sex change operation.

“By Sidney Lumet” started in 2008 when a producer of the PBS series “American Masters” asked producer-director Daniel Anker to conduct a lengthy interview with Lumet. After Anker died of complications of lymphoma in 2014, Buirski — who had previously created her documentary “Afternoon of a Faun” for “American Masters” — was brought in to edit Lumet’s 14-hour interview into a movie. Like Lumet, Buirski had a resume of socially conscious films, including her Emmy Award-winning 2011 documentary “The Loving Story” — about a besieged interracial relationship — which inspired Jeff Nichols’ new dramatic film, “Loving.”

Buirski decided to allow Lumet to tell his story in his own words — without any narration — interspersed with clips from his films and period photographs. The lengthy interview “was a great opportunity to let an artist talk about what matters to him, rather than a [documentary] filmmaker imposing what matters to that filmmaker,” Buirski said in a telephone interview from her home in New York.

On camera, Lumet comes off as a mensch who declines to manipulate his actors or play upon their neuroses to elicit a performance. He doesn’t view himself as an auteur but as a working director — inspired by the work ethic of his immigrant father.

Some movie reviewers have remarked that Buirski’s approach does not allow for a more critical take on some of Lumet’s less-than-stellar work. “But this movie wasn’t meant to be a description of … the success or lack of success of some of his films,” Buirski said. “It’s really more of a psychological study [of] how someone’s culture and psyche informed his work.”

Buirski chose to begin the film with a telling anecdote: During World War II, Lumet says he witnessed a shocking event while sitting on a train at a station in Calcutta. A soldier in the next car grabbed a 12-year-old girl who was standing on the platform and pulled her into his compartment. When Lumet went to check on what had happened, he discovered the soldier and his friends gang-raping the child. “I was so shocked, I couldn’t believe it,” Lumet says in the film. “They were … passing her from one to the other…. And then [I was] wrestling with, ‘Do I do anything about it?’ ” Eventually viewers learn that Lumet, fearing for his life, did nothing — which reveals something about his predilection for lone characters battling a mob mentality.

His 1981 film, “Prince of the City,” focuses on a detective (Treat Williams) who goes undercover to gather evidence for an investigative commission. “The Verdict” (1982) tells of an attorney who redeems himself when he represents a malpractice victim against a hospital.

“By Sidney Lumet” also chronicles the films that most directly hail from the filmmaker’s Jewish roots. “Daniel” (1983), inspired by the story of executed spies Julius and Ethel Rosenberg, delves into how parents’ political passions can scar their children.

And Lumet’s “The Pawnbroker” (1964) was perhaps one of the first movies to tackle the Holocaust from the point of view of a survivor. In the film, the character of Sol Nazerman (Rod Steiger) has cynically withdrawn from life even as he runs a pawnshop in East Harlem. He battles a racketeer involved in prostitution and rejects the friendship of a Puerto Rican boy who works for him, with tragic results. Sol’s attempts to repress his memories of a concentration camp fail as images of the Holocaust burst into his consciousness.

“ ‘The Pawnbroker’ asks the question, ‘Can you … survive total destruction when you are already dead [inside]?’ ” Lumet says in the documentary. “This is the story of a man coming back to life.”

‘By Sidney Lumet’: A conscientious filmmaking mensch, in his own words and images Read More »