Uncategorized
‘Fleishman is in Trouble’ hits FX Thursday. Just don’t call it a Jewish series, says its creator.
(JTA) — From Taffy Brodesser-Akner’s point of view, her best-selling 2019 novel “Fleishman Is in Trouble” wasn’t all that Jewish. She’s a little perplexed by the deluge of press junket questions about its Jewish essence.
“It’s funny: I don’t think of it as a Jewish book. I know people do,” she said.
Brodesser-Akner, a journalist famous for her sharp celebrity profiles, is now the showrunner of the book’s star-studded TV adaptation, an 8-episode FX series that debuts on Hulu on Thursday. In the story, Toby Fleishman (played by Jesse Eisenberg) is a 41-year-old Jewish hepatologist who has recently divorced Rachel (Claire Danes), his ambitious, icy, blonde theater agent wife. Early on in the story, Rachel disappears in the middle of the night, leaving Toby with their two children and a truckload of resentment. Toby, who had a nebbishy and romantically insecure youth before marrying Rachel, is now drowning in the sexual bounty of dating apps.
On Zoom, Brodesser-Akner was speaking a few days after the show’s blowout bash at Carnegie Hall and Tavern on the Green, an iconic Central Park restaurant. “I’ve never been to an event like that. It was 600 people,” she said. It sounded like a scene that could have been plucked right from “Fleishman,” which is set on the extremely wealthy Upper East Side, and in which the responsibilities of marriage and parenthood are at odds with the ambitions and personal longings of its middle-aged characters.
Brodesser-Akner, 47, who was both adrenalized and a little frazzled, had to balance the premiere with parenting duties — she’s a mother of two boys, ages 15 and 12. “I’m still picking sequins from my teeth.”
As a writer, Brodesser-Akner likes to play with the power of subjectivity, and she built “Fleishman” on it. Though the story begins as Toby’s, it eventually morphs into a “Rashomon”-esque take on the divorce and what really went wrong in the Fleishmans’ marriage. The story is narrated by Libby (Lizzy Caplan), Toby’s friend from their year abroad in Israel. A former men’s magazine writer, Libby is now a lost and frustrated stay-at-home mom in suburban New Jersey (and a stand-in for Brodesser-Akner). Adam Brody steals scenes as Seth, an immature finance bro and another year-in-Israel friend with whom Toby reconnects after the divorce. (His presence is a homecoming of sorts for those of us who spent our tween years watching him play a different Seth in “The O.C.”)
“I don’t think of it as a Jewish book,” says Taffy Brodesser-Akner.
Brodesser-Akner pieced together the story’s Jewish elements: a doctor named Fleishman, a bat mitzvah, Friday night dinners, a year abroad in Israel, a few jokes about Jews being bad at home repairs (which is the subject of a very funny scene in episode six between Toby and Seth). There are a few insidery details that she fails to mention, like a fake Jewish sleepaway camp called Camp Marah, which sounds like the real Camp Ramah but roughly translates to “Camp Bitter” in Hebrew. Does all this add up to a “Jewish” story?
“I read ‘The Corrections’ by Jonathan Franzen, and it mentions Christmas I think 47 times. I read ‘Crossroads’ and it’s about the family of a youth minister. But neither of those is ever called a Christian book. This is called a Jewish book. I don’t object to it being called a Jewish book. But to me it’s mostly an American story. As a writer and as an observer of the culture, I think that calling this a Jewish book is proof of the answer to an old question: are Jews considered Americans? And the answer is no.” She threw in her characteristic meta analysis: “So now you have a very Jewish profile. How Jewish is that, Sarah?”
The self-aware comment is a good reminder that although her responses may be unguarded, she has not forgotten that she’s on the record. A name in New York media, Brodesser-Akner wrote for GQ and is now a staff writer for The New York Times Magazine, having profiled Gwyneth Paltrow, Ethan Hawke and Tom Hanks and written about the Joshua Cohen novel “The Netanyahus,” the television show “Thirtysomething” and much more. She inserts herself often into her writing, not to make it about herself, but to remind the reader that every profile is by nature filtered through the lens of the writer crafting it. Her writing is searing, self-deprecating — so raw it’s still bleeding and often quite funny.
“I wrote the book the way I would write a profile, just like I always do. But this man doesn’t exist,” she said.
RELATED: 5 Jewish places that inspired Taffy Brodesser-Akner’s ‘Fleishman Is in Trouble’
We had tried to meet in person near her home on the Upper West Side, but by the time she was available, I was in Tel Aviv, placing us along the Israel-New York axis on which “Fleishman” is set. When Toby suddenly calls Libby to tell her he’s getting divorced, he catapults her into memories of their early twenties in Jerusalem. Those thoughts make Libby miss the possibilities of her youth, the ones time has ruthlessly and inevitably extinguished. Eventually her longing for her past becomes so overwhelming that it threatens her marriage to her menschy and patient husband, played by Josh Radnor. (For more longing-for-younger-days while in Israel content, Brodesser-Akner wrote a Saveur essay about vegetable soup in Jerusalem — her Proustian madeleine. Interviewing Brodesser-Akner from my friend’s apartment in Tel Aviv, a city where I lived in my twenties, I found the theme of longing for the past hit almost too close to home.)
Part of the reason Brodesser-Akner doesn’t think the “Fleishman” story is all that Jewish is that she doesn’t feel all that Jewish — at least not relative to her mother and sisters, who are aligned with the Hasidic Chabad-Lubavitch movement and live within a few blocks of each other in Crown Heights, Brooklyn.
“I don’t think any writer has ever gotten it right,” she says of her Jewish background. “They say I was raised Orthodox. It’s interesting because it always makes me look like the black sheep in my family, when really they are. I’m exactly how I was raised to be until I was 12.”
After her mother, a secular Israeli, and her father, a Conservative Long Islander, divorced, her mother put Brodesser-Akner and her sisters in Jewish school. Some Jewish observance trickled back to her mother, who ended up going the Chabad route.
“My mom had never been inside a synagogue until the day she married my father. Now that is what we call ironic,” Brodesser-Akner said.
Brodesser-Akner’s two sisters followed, and her mother eventually remarried and had another child, the only sibling born into a religious household.
“The thing that made me a journalist was being raised in a home where, at age 12, I was relegated to observer. I had to learn how to understand other people’s points of view. And now that’s what I do,” she said.
Despite their religious differences — Brodesser-Akner attends an Orthodox synagogue but sends her children to an unaffiliated Jewish school and says she wakes up “every morning with new ideas” — the author is very close with her family, and her sisters were at the “Fleishman” premiere.
“They were at the premiere of my perverted sex show,” she joked with a laugh referring to the Hulu series, which features some sexual content as Toby explores the post-divorce New York dating scene. “They show up for me and I show up for them. I have my challenges with it, but I think their challenges must be greater. They never say this to me, but they must think that my life is comparatively…” She looked away thoughtfully, trying to find the right words. “They must think my lifestyle is comparatively less worthwhile. But we really love each other.”
To Brodesser-Akner, the most Jewish show on television is “The Patient,” which she calls “the best show I have seen in 100 years.” And that’s not because it (like “Fleishman”) is on FX. “I’m not that kind of interview!” she said.
Lizzy Caplan plays Toby’s friend Libby. (FX Networks)
“It’s the most Jewish show in all of the Jewish ways. It grapples with a Jewish prisoner; with the difference between a Conservative Jewish female cantor whose son becomes ultra-Orthodox — I’d never seen that on screen. It was kind of the only relatable Jewish matter I’ve ever seen. People ask me if I’ve watched ‘Shtisel.’ And I always say, I’m in the 47th season of an ultra-Orthodox family drama myself and not really interested!” She laughed. “But also I think of the other Jewish matters on television, which are adapted memoirs of people who were ultra-Orthodox and now aren’t. It’s like no one can imagine religious people being happy in their lives. And that’s really shocking to me. My family is very happy.”
Brodesser-Akner wound up with her dream cast: she had a list of five actors — Lizzy Caplan, Jesse Eisenberg, Claire Danes, Josh Radnor and Adam Brody — and no backup plan. She noted the fact that viewers have seen them grow up on screen as one reason they were right for the roles. For many, watching Caplan, Eisenberg and Brody sit across from each other in a diner will feel like a camp reunion, the fulfillment of a Jewish television fantasy they never knew they had.
“One thing that we were trying to get across is ‘how could it be that I am this old when I was once this young?’ And the fact that you have a memory of Claire from ‘My So-Called Life,’ or Jesse from ‘The Squid and the Whale’ — that does so much of the work of the show without writing a word,” Brodesser-Akner said.
Besides Danes (who plays the only main character with a non-Jewish parent, whom the book makes clear she resembles) the lead actors are all Jewish — a notable fact in a time when Jewish representation on screen, and who should be allowed to play Jewish characters, is the subject of continued debate.
Last month, New Yorker TV critic Emily Nussbaum, who is Jewish, tweeted, “There is a simple solution to the question of whether various non-Jewish actors are allowed to play Jews & that is to ask me.” Brodesser-Akner responded to the tweet, writing “[Non-Jew] Oscar Isaac in Scenes from a Marriage is the best ex-ortho I ever saw on screen!”
About casting Jewish actors, Brodesser-Akner noted a legal issue rarely mentioned in the representation debate: one can cast based on looks, but it’s illegal in the United States to cast based on religion. She took this very seriously.
“I spoke to [‘The Plot Against America’ director] David Simon about it and he said, ‘They’re actors. You let them act.’ And I agree with that. The question that I asked myself was who was perfect for it?” she said.
Even if Brodesser-Akner rejects the claim that “Fleishman” is a definitively Jewish story, wasn’t she consciously playing with some Philip Roth-inspired Jewish archetypes? Toby the nice Jewish doctor, the devoted, idealistic dad who’s also self-righteous, horny and insecure.
No, she insists she wasn’t. But also Philip Roth is so ingrained in her that who’s to say? And isn’t the question flawed in the first place?
“All I can say is that I am made out of Philip Roth. I’m so formed by his books. I actually would say that you have a bias in the asking of your question, in that you’re Jewish too. And you also are made out of Philip Roth books since you’re a writer. Again, that goes back to the same question as ‘are we American?’ To me, Toby is not ‘a Jewish guy.’ He’s just a guy! He’s the kind of guy I know! I was just trying to be myself.”
“Fleishman is in Trouble” premieres its first two episodes on Hulu on Nov. 17. It will release each of its six remaining episodes weekly on Thursdays.
—
The post ‘Fleishman is in Trouble’ hits FX Thursday. Just don’t call it a Jewish series, says its creator. appeared first on Jewish Telegraphic Agency.
Uncategorized
He’s campaigning to regulate Texas oil and gas. Why is he linking his Jewish opponent to the Bolshevik Revolution?
A Texas race that would normally focus on oil wells, pipelines and energy policy has spilled into accusations of antisemitism.
In a fundraising email last month, Bo French, the Republican nominee for the powerful Texas Railroad Commission, circulated an AI-generated image of Jon Rosenthal, his Jewish Democratic opponent, smiling inside the room where Russia’s Romanov royal family was killed after the Bolshevik Revolution.

Rosenthal has “much in common with the Marxist revolutionaries who brutally executed the Romanov family,” the email reads. “My opponent has spent his time in office mocking Christianity, the Virgin Birth, and Christian Communion, while voting against religious liberty and for the spread of Islam.”
The text “Radical Rosenthal” with a blood-red outline overlays the black-and-white image.
“I do see it as antisemitic,” Rosenthal, the only Jewish member of the Texas statehouse, told the Forward. “Look at the history of the Bolsheviks and how the Jews were scapegoated. To invoke that here and now is disturbing.”
French did not respond to the Forward’s request for comment.
The message echoes the antisemitic conspiracy theory “Judeo-Bolshevism” that Jews created or controlled communism to undermine Western society. It became central to the Nazi propaganda used as a justification for violence against Jews. The fundraising email was first reported by Texas Monthly magazine.
“This is something that Jews have faced in the arena forever,” said Arthur Pronin, the Jewish president of the Meyerland Area Democrats Club in Houston. “This sort of thing that ‘They’re not one of us. They’re communists. They don’t have allegiance to the values of this country.’ It has a very specific resonance.”
Rosenthal, 63, was raised as a Reform Jew in an interfaith family, with a Jewish father and Christian mother. When Rosenthal was 14, he spent a year in Israel attending school in Hebrew and learning to speak the language while his father taught at Hebrew University in Jerusalem. He later became a mechanical engineer and worked in the oil and gas industry for 30 years before entering politics in 2017. In 2018, Rosenthal was elected to the state legislature, taking his oath of office on a Torah he received as a bar mitzvah gift.
In an interview with the Forward last year, Rosenthal said that he has at times faced antisemitic comments from members in the state legislature, including stereotypical remarks about Jews and money.
“Antisemitism is alive and well in Texas,” Rosenthal told the Forward.
Last year, he led opposition to a bill requiring public schools to display the Ten Commandments in every classroom, which was signed into law by Texas Gov. Greg Abbott in May 2025.
To underscore what he considered hypocrisy of self-identified Christian nationalists who supported the legislation, Rosenthal introduced an amendment to require the display of both the Jewish and Roman Catholic versions of the Ten Commandments, a measure that failed.
Rosenthal ran unopposed for the Democratic nomination for Railroad Commissioner. He is seeking to become the first Democrat in more than three decades to win a seat on the three-member commission, created in 1891, that regulates the state’s oil and gas industry. (Despite its name, the Railroad Commission stopped regulating railroads in 2005.) Members are elected to serve six-year terms.
Rosenthal, who previously flipped his district in northwest Houston from red to blue, is making a case that his victory would “rebuke the politics of hate.”
A recent poll of 1,200 likely voters, with a reported margin of error of plus or minus 2.8%, showed French with a slim three-point lead over Rosenthal. Rosenthal could benefit from the competitive U.S. Senate race, as other polls show Democrat James Talarico and Republican Ken Paxton locked in a dead heat.
French’s past antisemitism accusations
It’s not the first time French, who previously served as a GOP leader in the Dallas-Fort Worth area, has been accused of antisemitism. Last June, he posted a social media poll asking “Who is a bigger threat to America?” and gave two options: “Jews” or “Muslims.”
After backlash, French deleted the poll and apologized, writing that “Some people clearly misunderstood the intent.” Ignoring calls to resign from high-ranking Texas Republicans, he announced in November 2025 that he was stepping down to run for railroad commissioner.
He narrowly won the Republican primary in May against the incumbent railroad commissioner, Jim Wright, with 50.5% of the vote.
Rather than focus solely on traditional regulatory issues in his campaign, French has infused culture war themes. His campaign website says he will end “the influence of radical Islam and the CCP (Chinese Communist Party) in Texas oil” and strengthen the railroad commission’s “partnership with our allies like Israel.” In March, French called on the U.S. to deport 100 million people and for Texas Republicans to more openly condemn Islam.
“To be fair, he seems to be a pretty equal opportunity hater,” Rosenthal told the Forward. “He says antisemitic stuff, but he’s also Islamophobic and anti-immigrant.”
The state’s top Republicans — Gov. Greg Abbott, Lt. Gov. Dan Patrick and House Speaker Dustin Burrows — had all endorsed Wright in the primary. Now, all three are backing French.
Others won’t embrace French but see his victory as inevitable. Fred Zeidman, a Houston-based Jewish Republican donor who supported French’s rival in the primary, said the controversial campaign talking points are unrelated to the commission’s work on regulating gas and oil.
“I mean, I’m dead set against all that, and that’s why I worked against him,” said Zeidman, who serves as chairman of the board of Petroflow Energy, an independent oil and gas production and consulting firm. “Would I vote for him? Probably not. But he’s going to win. He might be effective at what he’s doing.”
The GOP support for French alarms Jewish Texans like Pronin, who said the candidate’s social media poll alone should have disqualified him.
The July fundraising email “should be roundly condemned by the Democratic Party, but also by Republicans,” Pronin said. “They’ve had a history of saying French is not acceptable. So why is it acceptable now?”
The post He’s campaigning to regulate Texas oil and gas. Why is he linking his Jewish opponent to the Bolshevik Revolution? appeared first on The Forward.
Uncategorized
‘An Israel run by undereducated Haredim risks being overrun by its enemies’
There is something surreal about Israel’s confrontation over Haredi education, which is rapidly coming to a boil. A dispute that has simmered for decades over whether ultra-Orthodox schools should be required to provide a basic secular education has become a test of something much larger: whether the Israeli government of Benjamin Netanyahu is still capable of governing in the interest of society when doing so threatens his own political survival.
At the center of the fight are the two major Haredi education networks, which educate most Haredi elementary-school children and receive full state funding in return for an obligation to teach the full core curriculum. For years, however, the state has largely failed to enforce that bargain, and the schools taught mainly religion.
The High Court in February demanded that the government explain why full funding continues despite failures to teach the required subjects. Still waiting for an answer, Attorney General Gali Baharav-Miara several days ago took the next logical step, declaring that continued funding will depend on schools actually teaching the core curriculum, employing qualified teachers, participating in national assessments and accepting meaningful state supervision.
The immediate fight is about schools and money, but there is a larger story.
The stakes are considerably larger than the argument over a few hours of mathematics or English. They concern whether Israel can remain the kind of modern state it has spent three-quarters of a century building.
Haredim already constitute almost a sixth of the population, their fertility rate remains around six and a half children per woman, and they account for more than a quarter of elementary-school pupils. On current demographic projections, their share of the population will continue rising dramatically for decades.
That might not in itself pose a national problem if the community were being equipped to participate fully in a sophisticated 21st-century economy. But among Haredi men especially, low employment, low earnings and weak proficiency in the basic skills demanded by the modern labor market remain profound problems.
A smaller proportion of highly productive workers would increasingly be asked to finance a larger population, sustain an advanced technological economy, support an expensive welfare state and pay for one of the most sophisticated militaries in the world.
At some point the math becomes strategic. An Israel that becomes substantially poorer will find it harder to finance cutting-edge weapons, intelligence, research, universities and the other institutions on which its military superiority depends. An Israel run by undereducated Haredim risks being overrun by its enemies.
Clearly this cannot continue. But the Likud-led right has spent years avoiding decisions that might antagonize indispensable Haredi coalition partners. When the moderates were in power they had little stomach for this fight, preferring to kick the can down the road as they focused on a resolution with the Palestinians.
That left the attorney general, the courts and the civil service to enforce rules that elected politicians have proved unwilling to defend.
It is important to note that in Israel the attorney general is a very powerful civil servant. Indeed, curtailing this power has been at the center of Netanyahu’s attempted “judicial reforms.”
Baharav-Miara has effectively ruled that one cannot demand the full financial benefits of the state system while rejecting the obligations that accompany them.
For years Israel has managed to avoid confronting this contradiction by maintaining requirements on paper while tolerating a political system in which they were weakly supervised, inconsistently enforced or simply ignored.
The numbers suggest how hollow enforcement became. Research by the Israel Democracy Institute found that only a small fraction of Haredi boys’ schools failing to meet core-curriculum requirements actually suffered budget reductions. It was a failure to make the rules mean anything.
The political explanation is not difficult to discern. Haredi parties have become indispensable to governments led by Benjamin Netanyahu, who became Israel’s longest-serving prime minister by cementing this alliance. Thus their bargaining power has allowed questions of education, avoiding military service and ever-growing public subsidies to become matters of coalition arithmetic rather than coherent national policy.
Governments understood that enforcing requirements could provoke a confrontation with parties on which their parliamentary survival depended, while postponing enforcement carried almost no immediate political cost – until now. It is the demographic reality caused by the Haredi birthrate that is transforming the argument over mathematics and English into an argument about Israel’s future.
Judging by statements from Israel’s leading opposition politicians, a new Israeli government led by them would address the issue of a core curriculum and take significant steps to end the Haredi draft evasion.
Meanwhile, even if Netanyahu somehow wins, continuing the status quo will be hard, as the High Court and the Attorney-General are now forcing the issue. The rulings mean that schools must demonstrate that they are teaching the required curriculum, employ appropriately trained teachers, participate in assessment programs, cooperate with supervision and enforcement mechanisms and comply with reporting requirements.
This, of course, intersects with Israel’s larger and increasingly poisonous argument about the power of judges, legal advisers and civil servants. There is a legitimate democratic concern when unelected officials acquire enormous influence over public policy. Neither judges nor attorneys general should be treated as infallible guardians whose decisions are beyond criticism. But there is another danger, and Israel has spent years demonstrating it: elected politicians can become so dependent on organized political interests that they cease to perform some of the basic functions for which they were elected: to protect the country from great dangers. In this case the dangers are internal – and for all the regional wars of the past several years, the main coming conflict in Israel will be the one within.
The post ‘An Israel run by undereducated Haredim risks being overrun by its enemies’ appeared first on The Forward.
Uncategorized
When Harry met ‘Hava Nagila.’ Belafonte’s lifelong love affair with Jewish culture
When Harry Belafonte let loose the word ”Day-O” in Webster Hall in 1955, it echoed a storied past.
He was in the ballroom recording “The Banana Boat Song,” a working man’s cry for reprieve, taken from the Caribbean’s banana loaders, who worked nights to escape the scorching heat, for his album Calypso.
Decades earlier, in the same, acoustically-blessed venue founded by a Jewish immigrant named Charles Goldstein, the Amalgamated Clothing Workers of America formed in the aftermath of the Triangle Shirtwaist Factory fire. Emma Goldman, who encouraged a young Communist named Paul Robeson, later to become Belafonte’s mentor in politics and performance, gave speeches about anarchism and women’s rights there.
Belafonte’s song was a kind of call-and-response with history, and a Jewish one at that. He was no stranger to Jewish culture and would come to evangelize it. When he was a struggling actor, operating a burger joint in the Village at the height of the folk era, a local cantor wandered in and taught him a tune he’d make world famous: “Hava Nagila.”
“Harry’s affinity toward Jewish culture and for Jews was a huge part of his life,” said Joshua Jelly-Schapiro, the author of Daylight Come, a new biography on Belafonte.
Jelly-Schapiro first interviewed the late singer, actor and activist when he was a grad student writing his dissertation on the influence of Caribbean culture. He didn’t have a book in mind, but over the years he’d catch up with Belafonte at events around the globe. Jelly-Schapiro even scored invites to his birthday parties. An earlier book proposal was scuppered by news of Belafonte’s memoirs, but in the years since his death in 2022, Jelly-Schapiro wanted to tell the larger story of how he reshaped American culture, in the pre-Civil Rights era and in the dead center of the movement.
Daylight Come is a fascinating look at Belafonte’s extracurriculars. Outside of his tenure as a matinee idol, and the first solo act to crack 1 million LPs sold, Belafonte’s best friend was Martin Luther King, Jr., for whom his West End Avenue apartment served as a kind of New York headquarters for the Civil Rights leader. He had the ear of John F. Kennedy and his brother Bobby. He mobilized movie stars for the 1963 March on Washington and bankrolled much of the campaign to desegregate the South. Among his other contributions was an early break he gave to a young Jewish Minnesotan looking to make it in the music industry (Bob Dylan’s first professional recording was as a harmonica player on the title track of Belafonte’s 1962 album Midnight Special).
I spoke with Jelly-Schapiro about Belafonte’s enduring connection to Yiddishkeit and the exceedingly strange film where he plays a Jewish angel on work probation. The following conversation has been edited for length and clarity.
The way you put it in the book is that Harold Bellanfanti, Harry’s dad, “said his father was a Dutch Jew from Martinique.” That makes me think it hasn’t been verified.
There’s no way to confirm it empirically, but that’s certainly the family story. Many family trees in the Caribbean are very mixed and hard to track because they involve mixtures of enslaved people from Africa and traders and others from the edges of Europe. He had this very mixed sort of family, but probably even more important is his growing up in New York around lots of Jews.
His mother worked as a domestic and a tailor. This Jewish tailor was kind to her and would give her these cheap suits that she dyed blue. But he also said in an interview once “I came to know the Irishman by knowing the culture of the Irish. I came to know the Jew by knowing the culture of the Jew.” He was quite literally around synagogues. He heard cantors sing. He was really taken as a young man with the stories of Sholem Aleichem and traditions of Yiddish storytelling and drama. That was a big part of his formation, and he talked about it.
He served in the Navy during World War II. Like many people of this generation, of all backgrounds, he was really shaped by this understanding of the Shoah and of the fight against Hitler.
I didn’t realize that he sang “Hava Nagila” in Berlin in 1958, so soon after the war; obviously the significance couldn’t have been lost on him there.
And “Hinei Ma Tov.” He made them a part of his repertoire. Germany is a fascinating moment. Here’s this Black Caribbean entertainer landing in Germany and singing “Hava Nagila” and really impressing on German folks who loved him — they absolutely adored Harry. He was a huge star in Germany, an even bigger star there than he was here — really conveying the sense of Jewishness as a culture and not just an identity. It’s an incredible fact that he was the conveyor of Jewish humanity and culture.
He took a break from making movies, but then right after MLK and Bobby Kennedy were shot, he comes back with this movie The Angel Levine, based on a Bernard Malamud story and co-starring Zero Mostel. Why do you think the material spoke to him at that moment?
In the late 1950s, he’d essentially turned his back on Hollywood. He had really scaled the heights of fame, and he appeared in some very big movies, but made this one called Island in the Sun in particular, which is a big blockbuster. But he hated the edit because basically they sort of neutered the interracial love affair that was at the center of it. They just had him drink out of the same coconut with Joan Fontaine. He was really soured on Hollywood. Did not want to take on roles or projects that, to his mind, were just designed to make whites comfortable, or that didn’t fit his politics. He was also hugely involved in the Civil Rights movement — I mean, he was making records, and he was still incredibly busy, but he was not making movies.
In this very dark, interesting time after the assassination of Dr. King and Bobby Kennedy, he was a little bit adrift personally and politically, but he decided to re-enter — make another movie, but on his own terms. The impetus for it was that he was really interested in the relationship between Blacks and Jews. He was interested in these old ideas about the human family and who gets to count as human, and mutual recognition of humanity of humans recognizing humans. But then you have this angel, so it adds this odd other element that’s really kind of interesting and strange. To me it’s an amazing thing that they just made that movie and it had national distribution because it’s so New York and so ethnic, for lack of a better term. This is way before Seinfeld made New York Jewishness hit the heartland. It was an experiment in trying to make movies that followed his politics, also in the sense of who was involved in the production.

He had all these interns of color; he wanted to integrate the entertainment industry and the film business. He also hired Bill Gunn, a very quirky Black screenwriter who’s kind of a genius. And Zero Mostel, who was blacklisted and then gave this memorable testimony in the House. An amazing character and a fellow denizen of the Upper West Side, he was a friend and a political ally of Harry’s. It’s a flawed and strange film, but it’s also a deeply touching one because it really gives it some of the complexities of the kind of deeply intimate and intertwined relationship between Blacks and Jews in New York, and also memorably features the Commandment Keepers up in Harlem, which is a synagogue of Black Jews of whose existence many people are ignorant outside New York or outside Harlem.
Belafonte was critical of the U.S. not participating in the 2001 World Conference on Racism in Durban, South Africa. This was the summit where a number of delegates declared Zionism as racism and singled out Israel for rebuke. He was asked about it on the Today Show the morning of 9/11, before the first tower was hit. I know that Harry had a relationship with Israel. He obviously was very supportive of the boycott of South Africa. People are pushing to boycott Israel. What do you think he’d think of Israel now?
His identification with Israel and with the cause of protecting Jewry and Jewish people was hugely important to him, and so he absolutely identified with Israel through much of his life in that way. I think certainly his politics were deeply anti-imperial, deeply anti-colonial, deeply skeptical of American foreign policy, and I think it, as evinced by that interview he gave on the morning of 9/11, he was developing a serious critique of American foreign policy and support for certain aspects of Israeli policy vis-a-vis the Palestinians. Like many American lefties of his generation, as his life went on, I think his critiques of Israel grew. By the time the current catastrophes unfolded in that part of the world, he was leaving public life. He didn’t speak concretely on them.
But he had very close relationships with the activists and the lefties and the causes that he really identified with in the last couple decades of his life — people involved with the prison abolition movement, certainly Black Lives Matter, but people like Angela Davis, Cornel West, these people who have obviously become extremely critical of Israel, and he was very close to many of these people in political formations. I think that was a journey for him.
The American Jewish Historical Society has an exhibit up now and it’s 75 objects about Jews in U.S. history, and one of them is a picture of Harry and Julie Robinson, his Jewish wife, at a march in the section on Civil Rights. The text says he was part Jewish.
He would joke he was the most popular Jew in America. It was not lost on him that many of the most important allies and backers of the Civil Rights movement were Jewish, and he was extremely close with Stan Levison, who was really kind of King’s chief strategist. His involvement, both in show business but also really vitally in the Civil Rights movement, involved a deep identification with a tradition of Jewish political engagement with progressive causes, and certainly his wife Julie, who was sort of a red diaper baby raised by Jewish Marxists, was part of that as well.
In the same way we talk about how he popularized a folk tune like “Day-O,” he introduced a lot of the country and the world to “Hava Nagila.” I don’t think someone who looks like an Old World cantor could have made quite the same impression with it
He gave a platform to Jewishness also being a deep well of folk culture. And he did the same for the Caribbean.
The post When Harry met ‘Hava Nagila.’ Belafonte’s lifelong love affair with Jewish culture appeared first on The Forward.

