Brava Marie!

“Sholem Aleichem’s Women”

From Intro: “I have 5 daughters,” brays Tevye in the opening moments of the beloved musical Fiddler on the Roof. “I have 5 daughters!”

Close your eyes and I’ll bet you can summon Zero Mostel’s voice—Zero Mostel’s voice as we can all still hear it on Fiddler’s Original Cast Album—an album originally recorded on an LP (a long-playing record) way back in 1964, and still echoing at the edge of Jewish-American consciousness.

Now I’ve been working on a book about Fiddler since 2002, with plans to publish it in September 2014 in celebration of the 50th anniversary of Fiddler’s Opening Night on Broadway. So in the last decade I’ve seen over two dozen performances of Fiddler, read numerous books and articles related to Fiddler, and given lectures on Fiddler all around Metro Chicago.

And yet, even having heard these four words (“I have 5 daughters!”) at least a hundred times in past five years alone, never once did I think to ask myself: “Mmmm, I wonder if Solomon Rabinowitz had any daughters?”

Updating this presentation for today, I just looked in Wikipedia again and a little bit more information is now available (updated as of 2/19/12). But even though Marie Waife-Goldberg’s book My Father, Sholom Aleichem is listed in the ‘Further Reading’ section, there’s nothing about her and certainly no link to a Wikipedia page for her. However, with Marie Waife-Goldberg to guide me, I can tell you a fairly coherent story about the Rabinowitz family…”

Context: Presentation at Limmud Chicago’s the third annual Day of Jewish Learning (2/19/12). All photo credits copyright Limmud Chicago. Click HERE for an updated version of this presentation given at KAM Isaiah Israel in Hyde Park on 3/11/12.

Posted in Lectures, Tzivi's Events | 1 Comment

Ha Hov

Wikipedia: “A debt is an obligation owed by one party (the debtor) to a second party, (the creditor); usually this refers to assets granted by the creditor to the debtor, but the term can also be used metaphorically to cover moral obligations and other interactions not based on economic value.”

3/15/12 UPDATE: Last September I wrote about The Debt, director John Madden’s 2010 English remake of the 2007 Israeli film Ha Hov. In my review of The Debt, I said: “Have we reached the point, as Jews, where our debt to the past is now in conflict with our debt to the future? This is the question that drives the plot of The Debt…”

Although fellow critics told me the two versions were identical, I resisted. I didn’t remember much concern for the future in Ha Hov. Well Ha Hov was just released on DVD, so I was able to watch it again last week, and now I can tell you for sure that I was correct. In Ha Hov, all debts are debts owed to the past.

SPOILER ALERT!

If you haven’t seen The Debt yet, then please stop reading now!

The narrative in both versions begins in the mid-60s, and in both versions three Israeli Mossad agents are sent to Germany to capture a Nazi doctor based on the notorious Joseph Mengele. (The real Joseph Mengele, never captured, is thought to have died in Brazil in 1979.)

In Ha Hov, the three agents are named Ehud, Rachel, and Zvi. Ehud, the muscle man, is a charming hothead. Zvi, the team leader, is methodical, precise, and withdrawn. Ehud tells Rachel that Zvi lost his entire family in Auschwitz. Rachel tells Dr. Rainer (the mark) that her mother was injured during the Holocaust (in unspecified ways that made her unable to bare more children), but there is no clue if she lived or died. At one point Rachel gives in to Ehud’s seductive advances, but she ultimately marries Zvi. We never find out if Rachel has any children when she returns to Israel after the mission.

Skip ahead 30 years or so. Rachel writes a highly-publicized memoir about the mission, then, when rumors surface about Dr. Rainer, Zvi convinces her to go to Ukraine to protect her reputation (as well as his, of course). Ehud is already in Ukraine when she arrives, but he kills himself because he’s become a drunken coward, too afraid now to confront the monster.

In The Debt, the three agents are named David, Rachel, and Stephan. Stephan, the Team Leader, is cynical and extremely ambitious. David, the Holocaust survivor, is sincere but deeply scarred. Rachel falls in love with David, but turns to Stephan for comfort when David rejects her. She gets pregnant because of the fertility shots she’s received from Dr. Bernhardt.

Once they return to Israel, Stephan wants to marry Rachel because she’s now a great national hero, so having her on his arm helps further his political ambitions. She agrees because she’s pregnant and shamed by her failure to deliver Dr. Bernhardt. David, also filled with shame, won’t step in to save her. They both feel a debt to their dead parents–and to the rest of the 6 Million–and they suffer because they are unable to pay it. Futhermore David knows that Stephan is, in fact, the father of Rachel’s child.

Skip ahead 30 years or so, and Sarah, proud daughter of Rachel and Stephan, writes a book about her parents’ historic accomplishment. Then David, who has spent his life in lonely pursuit, hears the rumor that Dr. Bernhardt is still alive. Stephan wants David to kill Dr. Bernhardt, but David is exhausted by all the lies and kills himself instead. So Stephan (who was injured in a terrorist attack and is now confined to a wheelchair) convinces Rachel that she must kill Dr. Bernhardt; Rachel must protect all the old lies not for her mother’s sake, but for Sarah and for Sarah’s son.

When she reaches Ukraine, Rachel faces her final dilemma, and when she acts at the end, she acts on behalf of her grandson. What does she owe this boy? She decides she owes him a world without lies. She decides she will no longer be complicit in the self-serving deceit of his grandfather Stephan (the duplicitous politician). In the end, Rachel decides that her primary debt–her moral obligation–is no longer to the past. Rachel decides that her primary debt–her moral obligation–is to the future.

Now Ha Hov is 97 minutess long and The Debt is 113 minutes long, so The Debt has 16 additional minutes of character development and suspense (all well used), but this is the core of it. Ha Hov is about the past; The Debt is about the future.

Ehud, Rachel, and Zvi arrive in Israel as heroes.

Posted in Films/DVDs | Leave a comment

FOOTNOTE Teaser

On Sunday February 26, Israeli director Joseph Cedar was in LA. His new film Footnote (winner of the Best Screenplay award at the Cannes Film Festival in May 2011 & nine Ophir Awards from the Israel Film Academy in September 2011) was a candidate for the Best Foreign Language Film Oscar. Kol Yisrael watched with pride that night. He didn’t win, but he was there. Mazel Tov, Joe!

But this was not Joe’s first Oscar Night. Joe was at the Oscars in 2008 when his third film, Beaufort, was also a BFLF candidate. Four films –> two Oscar nominations! Astonishing! But I want to remind you of something: Joe Cedar was not his own country’s choice for 2008…

Israeli protocol dictates that the winner of the annual Ophir Award for “Best Film” (presented every September by the Israel Film Academy) automatically becomes Israel’s Oscar candidate. Now Cedar received the Ophir in 2000 for his first film Time of Favor and he received the Ophir in 2004 for his second film Campfire, but in 2007, the Ophir went to The Band’s Visit. 

Then Ophir criteria clashed with Oscar criteria* and The Band’s Visit was deemed ineligible, which pushed Beaufort into the top position. And that’s why Joe Cedar was in LA in 2008 representing Israel, even though he was not, in fact, the director of the film selected by the Israel Film Academy.

Sometimes truth is stranger than fiction!

My own opinion is that The Band’s Visit is a very slight little crowd-pleaser, whereas Beaufort is one of the best films made anywhere in the world in the immediate post-9/11 decade. Here’s our FF2 haiku for The Band’s Visit, and here are my reviews of Beaufort (I wrote two–one for FF2 and one for Jewish Film World).

I mention all this now because Footnote is a profound and thrilling film, and I believe that, in making it, Joe Cedar was driven (at least in part) to claim his rightful place on that BFLF Oscar List with no if, ands, or buts. Bluntly put: It is no mere accident that Footnote’s dramatic arc begins and ends with awards ceremonies!

Footnote (which has already opened in NYC) will open in Metro Chicago (at the Cinemark in Evanston, the Landmark Century in Lincoln Park, and the Landmark Renaissance in Highland Park) this Friday (3/16/12) and hopefully many other theatres around the USA as well. See it on a big screen! You’ll be glad you did!

Here are my reviews of Time of Favor and Campfire.

3/16/12 UPDATE: My full review of Footnote is now live on the JUF website :-)

Photo: “Uriel” (Lior Ashkenazi on far right) watches as colleagues congratulate his father “Eliezer” (Shlomo Bar-Aba seated in center) after he wins the Israel Prize.

*************************

* Tzivi’s (ahem) Footnote: The Band’s Visit was technically ineligible in the BFLF category because over half of the film is in English. When the Egyptian characters converse, they converse in Arabic, and when the Israeli characters converse, they converse in Hebrew. But when cross-cultural conversations occur, the characters use the only language they all share… and so it goes…

As I wrote way back in ’08: “This [Oscar kerfuffle] may be a blessing in disguise. Many highly-praised filmmakers tried to say something meaningful about “the war on terrorism” in 2007, but they all failed. In the Valley of Elah (directed by Paul Haggis), The Kingdom (directed by Peter Berg), Lions for Lambs (directed by Robert Redford), Redacted (directed by Brian de Palma), Rendition (directed by Gavin Hood), not one was a critical or commercial success. The only film that I felt captured the moment was Beaufort, and I believe Beaufort will endure long after this year’s Oscar controversy has faded from memory.”

Posted in Films/DVDs | Leave a comment

Women Unchained

Bev Siegel

From March ’12 Spotlight: On Sunday, March 11, Spertus Institute will host the local premiere of Women Unchained, a new “Get-o-nomics 101″ documentary by Chicago filmmaker Beverly Siegel.

When the husband of a married woman refuses to grant her a Jewish divorce (called a “get” in Hebrew), she is referred to as “agunah” (“anchored/chained”). Sometimes this emotional abuse is a continuation of assaults and betrayals documented during the marriage; other times it is financial extortion. Regardless, until the man agrees to grant a Get, the woman is unable to move on with her life (and absolutely forbidden to remarry) long after the marriage has failed.

When I called Siegel, she said: “A friend of mine has a daughter who was unable to get a get from her husband. She went through all kinds of exertions and humiliations and things she never thought she’d have to go through in order to get her daughter out of this marriage. When she finally came up for air after this horrible experience, she and her husband decided that they wanted to do something to raise awareness.

I was a video producer, so they said to me: ‘We would really like you to make a documentary about get abuse and we’ll help raise money.’ There were already two filmmakers working on this, Menachem Daum (who made A Life Apart: Hasidism in America) and Jack Comforty (who made The Optimists), and they both gave me footage that they had already shot. So I came into some footage and I got moving.”

But, Siegel cautioned: “This topic is just too complicated to stand alone. The reason that this film is only one hour and not true feature length (which would be 90 minutes), is because we really made it so that there could always be Q&A afterwards.” The panel discussion following the Spertus screening will include Siegel as well as Sharon Shenhav (Director of the International Jewish Women’s Rights Project) and Rabbi Gedalia Schwartz (from the Rabbinical Council of America), two of the people interviewed in the film itself.

According to the Spertus website: “Siegel and co-producer Leta Lenik see the film as a way for rabbis and laypersons, often pitted against each other on this issue, to hear each other’s points of view.” But after watching the screener, I just can’t understand how anyone justifies a system which traps women in such unfair circumstances and allows men to act in ways that seem so clearly mercenary. So I will definitely be at Spertus in March, eager to learn more.

Visit the Spertus website to order your tickets.

With Husband Howard

Posted in Films/DVDs, Lectures | Leave a comment

Marie Waife-Goldberg

From March ’12 Spotlight: Also on March 11 (but a few hours earlier), I’ll be doing a Women’s History Month program of my own down at KAM Isaiah Israel in Hyde Park. The subject is “Sholem Aleichem’s Women: A Tribute to Marie Waife-Goldberg.”

Waife-Goldberg, the youngest of Solomon Rabinowitz’ daughters, was the author of My Father, Sholem Aleichem (originally published by Simon and Schuster in 1968).

This will be an expanded version of the talk I gave at the third annual Limmud Day of Jewish Learning at UIC on Feb. 19.

Visit the KAMII website for more details.

Posted in Books | Leave a comment

Hip-Hop Miri

From March ’12 Spotlight: Last month, I told you how much I loved Miri Ben-Ari’s CD The Trip to Beautiful. So with mellow jazz in mind, I headed to her concert at Lincoln Hall in February.

But what a surprise-Ben-Ari has now transformed herself into a hip-hop artist, using her dazzling violin skills in the service of new beats that culminated in an intense encore number called nothing less than “The Ten Commandments!”

This talented young woman is also the founder and CEO of “Gedenk” (the Yiddish word for “remember”) which creates PSA’s using the tag line “The Holocaust happened to people like us.”

Read more about Ben-Ari in Jenna Benn’s article for Oy!Chicago.

Lincoln Hall (2/9/12)

Thanks to John Broughton for use of his fabulous photo (which I found on Facebook!). Here’s the full credit: Jazz photography © John Broughton E-Mail:  dinandriver@gmail.com Phone: 847.942.5271

Posted in Performances | Leave a comment

The World Was Ours

From March ’12 Spotlight: In February, the Illinois Holocaust Museum and Education Center in Skokie hosted a screening of The World Was Ours: The Jewish Community of Vilna before Its Destruction in World War IIwith special guest Mira Jedwabnik Van Doren.

Narrated by Mandy Patinkin, The World Was Ours is primarily based on footage Van Doren shot in 1993, when she returned to Lithuania to attend the 60th commemoration of the liquidation of the Vilna Ghetto. But as she explained during the Q&A, Van Doren’s film does not dwell on the Nazi period: “I didn’t want to talk about the War. You can already get that from Aviva Kempner’s film Partisans of Vilna. In my film, I wanted to show what was lost.”

DVD copies can be purchased (for home use only) from www.TheVilnaProject.org.

Click HERE to see more photos from this event on the Chicago YIVO Blog.

With Rich at Reception

Top Photo: Mira Jedwabnik Van Doren (on right). Credit: Jan Lisa Huttner

Bottom Photo: Post-Screening Reception. Credit: Stephen Cann

Posted in Films/DVDs, Lectures | Leave a comment