Features
Einstein’s Smile: A Tale of Two Pictures
By DAVID TOPPER In my previous story in the Jewish Post & News, “Einstein & Johanna: A True Tale of Tragic Comedy,’’ I began by saying that I first heard the name “Einstein” when I was around the age of 10.

So let me begin this story when Albert himself was about that same age, and he had his class photo taken on the steps of his school. This picture is one of the earliest pictures we have of him – and it’s one of my favourites. It shows his all-boys class of 52 students lined-up in five rows. Einstein is in the front row, the third from the right, and clearly one of the smallest in the group.
The unique and utterly fascinating thing about this picture is this simple fact: all the other boys are looking grimly at the camera, while little Albert is the only one with a smile on his face. Look closely: all 51 others, with hands at their sides, appear stern, anxious, intimidated, sulky, or scared; Einstein, with hands behind his back, has a cute, little, slightly impish smirk on his face – unquestionably, a look that any parent would love. Just compare the detailed picture of him with the boys to his immediate sides : the contrast, indeed, is at once stunning and amusing.
Right here, in this astounding image (a mere class photo) is the visual manifestation of the laid-back contrarian that he would become throughout his life. In this one picture, knowing what I know about him, his whole life almost flashes forward before me. So, here, I wish to share a piece of this story with you.
As reported by those who knew him, Einstein was modest and unpretentious, without an iota of conceit or arrogance, treating all people in the same manner, independently of class or rank. He spoke the same way to a president as to a janitor. He also had a hearty laugh, with a child-like twinkle in his eye. OK, all this may be a bit of an exaggeration (sounding more like Santa Claus), but variations of these traits are persistently repeated among those who knew him and reminisce about his personality. He really was a down-to-earth guy. For example, he refused to travel first-class. Even when sent first-class tickets, he sat in third-class, driving the fastidious ticket-takers crazy.
I have a second picture to talk about. But before that, I want to see what else there is about his life that I can read into his class picture. What do we know about his early life that might help us? Best to begin at birth.
Albert Einstein (1879-1955) was born in a small town (Ulm) on the Danube River in south-western Germany to unobservant Jewish parents. Although the town today boasts of his birth, he was still an infant when the family moved to Munich, where he spent his formative years. His mother, Pauline, had a deep commitment to music, and she tried to instill that affection in her young son by forcing violin lessons on him. A love of music eventually sunk into his psyche around his transition to the teenage years, and Albert carried that commitment throughout his life. He exhibited his love of music by packing his violin on trips. Serious music, to him, was confined to the works of the “classical” period of what is called classical music, especially that of Mozart and Haydn, although he would happily dip back into the Baroque and J. S. Bach.
His father, Hermann, was a businessman who could have made a lot of money at the time because he was in the electrical business (motors and dynamos, for example), which was to the late-19th century what computer high-tech paraphernalia was to the late-20th century. But, just as the “dot.com” boom and bust resulted in some winners and many losers, most who made the effort in the electrical business did not achieve success. Hermann’s business went bust.
Albert’s sister, Marie (called Maja), was born when he was age two, and she was his only sibling. Maja, in a short memoir written in the early-1920s, is a crucial source of information about her brother’s childhood; this is important because there are many myths circulating through the media and beyond about Einstein’s youth. Today, many special interest groups wish to embrace Einstein as the poster boy for their various causes. Nonetheless, Einstein was not a slow learner, a vegetarian, left-handed, nor any of a range of idiosyncrasies that you will find in special-group websites on the Internet testifying that Einstein was one-of-them. Although his parents tutored him for his first year of school, he also was not “home schooled,” for he continued through the German school system until the age of 15, when he dropped out before graduating in his final year. Yes, Einstein was a high-school dropout, but I must confess that I have not yet come across a website of “High-School Dropouts” claiming Einstein as one-of-them.
Contrary to another myth, Maja reports that her brother was not a slow learner but was “a precocious young man” who had a “remarkable power of concentration,” such that he could “lose himself…completely in a problem.” Later, for Einstein the scientist, this youthful behavior was clearly repeated – like a leitmotif, throughout his scientific life.
It’s true that Albert detested the rigidity of the German way of teaching, but he still got good grades. Yet, he did not hide his feelings about the oppressive atmosphere of the classroom, so that one teacher went so far as to tell Albert’s parents that their son set a poor example for the other students by his overt hostility. This may cast some light on the special smile on his face in our photo, for it surely reveals the contrarian attitude on social mores that he displayed throughout his life. One obvious example: think of his lack of decorum in the grooming of his hair, which began in the 1930s.
An example of nonconformity of a different kind took place in his pre-teen years when he became extremely religious and admonished his anti-religious parents for not following the rules of Orthodox Judaism. This personal obsession lasted for a few years, to the consternation of Hermann and Pauline, only to disappear right before he would have been Bar Mitzvah. (It never happened.) In his very brief autobiography, written in 1947, he says that the reason for this quick change was his discovery of science and math, and for him the accompanying realization that the Bible was untrue. The result was an intellectual and emotional transformation. He viewed the religious outlook as subjective and solipsistic, whereas the scientific viewpoint was a route to objectivity and a liberation from what he called “the merely personal” – or subjectivity. He put it this way: “Beyond the self there is the vast world, which exists independently of human beings, and that stands before us like a great, eternal riddle, at least partially accessible to our inspection and thinking.” This statement acted as a maxim for his scientific endeavours to the end of his life.
But this is not the full story of his transformation: he added a socio-political element that is rather startling and remarkable for someone around age 12 or 13. He said he came to realize that “youth is intentionally being deceived by the state through lies” and that therefore a “mistrust of every kind of authority grew out of this experience.” These are profound and troubling views for someone at an age where most boys are more obsessed with sports and girls. Does this give us a hint at a deeper meaning of the smile in Photo 1? Maybe not, he was but 9 or 10 when the picture was taken. Nevertheless, it does give us a sense of continuity from here to the unconventional citizen we know later in life.
As we continue to pursue the question of the roots of his maverick ways, we find two episodes of interest at age 15 or 16. Both were triggered by the collapse of his father’s business, and the need for the family to move from Munich to the town of Pavia in northern Italy just south of Milan, where his father’s brother had a more successful business. Since Albert was in his last year of high school, he was placed in a boarding house in Munich while his parents and sister went on to Italy without him. Alone and feeling abandoned, he sank into a deep depression and had to leave school. But he had the wherewithal to obtain a letter from his math teacher saying that he completed that part of the curriculum. This was the first episode.
The other episode, however, might not have seemed very level-headed at the time. After crossing the German border, he applied to the government to renounce his German citizenship, making him a stateless person thereafter. Some scholars believe that in order to trigger such a desperate act, something almost elemental about German society had deeply troubled Einstein. We know he had major misgivings about the militaristic features of German society as expressed in the educational system. Or was it a reaction to his father’s loss of his livelihood, and the need to leave the country? His sister, Maja, however, had a simple answer: he was avoiding being drafted into the military.
Accordingly, as a high school dropout, Albert arrived at his parents’ residence in Italy, much to their surprise and surely their chagrin. We have no documentation about the inevitable confrontation between him and his parents, but we can be sure that there was a dispute around the question of what he was going to do with the rest of his life. We, of course, know the answer, in the long run. But even in the short run, there was some hope.
Let’s return to that letter in Albert’s pocket when he left Munich, and back up a few years to the non-Bar Mitzvah around age 12 or 13. The unperformed religious transformative rite was replaced by a different revelation – as mentioned, he developed a zeal for science and in particular the logical rigor of mathematical reasoning. Specifically, he was given a primer on geometry, and he devoured it – even trying to prove some theorems before he read the proofs in the book. The logical way that mathematical reasoning produced eternal proofs had a deep psychological impact on this young man, so much so that even when writing his autobiography around the age of 68, he referred to this early textbook as the “holy geometry book.” How revealing this metaphor is: especially when we realize that he was reading Euclid, instead of Torah, the original “holy” book. He went on to teach himself calculus and other higher mathematics, so that by the time he dropped out of school, he was well-grounded in the mathematics required for graduation and beyond. Hence, the letter in his pocket, mentioned above.
Albert’s father had plans for his son to be an engineer. This is no surprise, since he was in the electrical business, which he (correctly) believed was the wave of the future. In particular, he wanted his son to enroll in the Swiss Polytechnic Institute in Zürich, one of the best schools in Europe. As luck (fate?) would have it, a completed high school diploma was not necessarily required for enrollment in the Poly; instead, there were a series of rigorous exams administered by the Institute. It seems that the letter from the math teacher was a factor in placing him in the special category.
So, in the fall of 1895 he took the entrance exams – but flunked them. There was, however, a silver lining to this incident. He did so well on the science and math parts (no shock here) that the Institute’s director recommended that he spend a year doing some remedial studying. After all, he was applying to the Institute a year or two early for his age, since the regular age of admission was about 18 years old.
Einstein spent the next year at the Kanton Schule in the town of Aarau, just west of Zürich. The curriculum was based on the ideas of the great Swiss educator, J. H. Pestalozzi, who (among other things) emphasized using visual materials as well as written texts as educational tools, and especially stressed direct student-teacher interaction. For Einstein, it was a delightful and memorable year: he enjoyed learning in a formal setting for the first time in his life.
Indeed, it was sometime during that year of motivated learning that he came up with what would be his first great experiment in his head, what we call a “thought experiment.” This idea involved moving in space at the speed of light; essentially it was based on this question: What would the world look like if we rode on a beam of light? Perhaps the Pestalozzi emphasis on visualizing played a role here? Listen to the following remark about the school in Aarau that Einstein wrote 60 years later: “It made an unforgettable impression on me, thanks to its liberal spirit and the simple earnestness of the teachers who based themselves on no external authority.”
Ah ha, “no external authority”: such progressive and open-minded thinking was guaranteed to have an impact on Einstein who, as quoted, believed that “youth is intentionally being deceived by the state through lies” and that therefore a “mistrust of every kind of authority grew out of this experience.” This Swiss Kanton Schule was obviously nothing like the German schooling he had previously experienced. No wonder he graduated in the fall of 1896 with good grades.
The year at Aarau proved fruitful. Einstein’s admittance to the Swiss Polytechnic was based on his grades at Aarau, and although his father wanted him to study to become an engineer, he enrolled in physics and mathematics – and we know where it went from there.
One more thing about the Aarau year. There is a class photo of that small graduating class of 10 students. It’s not reproduced here, for no one is smiling. They all look relaxed, but serious too as they ponder their future. Einstein may be a bit more relaxed than the others, and he may be staring off into space much further than his fellow students – but I hesitate in reading anything more into it. Nonetheless, I do know this: once, when reminiscing about that key year in his life, he said that, while the other students at Aarau filled their spare-time by swigging copious quantities of beer, he drank from a different trough – diligently reading The Critique of Pure Reason, by Immanuel Kant. And that surely was nothing to smile about. (Incidentally, Einstein was a teetotaller all his life.)

My key argument here is essentially about the role of pictures and what we can (or cannot) read into them. And this brings me to Photo 2 from 1931, over four decades later. Here Einstein, now the celebrity, is at a reception in the German Chancellery in Berlin. From the left they are: Max Planck (the famous physicist), Ramsay MacDonald (British Prime Minister), Einstein, Hermann Schmitz (on Einstein’s immediate left), and Hermann Dietrich (German Finance Minister).
I have no idea why these five men were seated together or what they were talking about. There are several extant pictures of this table-talk scene, which were taken by the pioneering photojournalist, Erich Salomon. I have chosen this one because it captures an animated Einstein speaking to the British Prime Minister. Notice the gesture with his cupped right-hand. It is a captivating image clearly displaying Einstein’s alert and smiling face, all in stark contrast to the serious, stern, and solemn visages of the other four. “Come on, guys – lighten up!” – I want to say with Einstein. Or, put differently: what’s there not to like about this Einstein fellow trying to cheer-up a much too formal table? Is it not clear why I am juxtaposing this 1931 picture with the smiling boy in school? And so, it seems that a story that began with a smile appears to end with a smile.
But not so fast.
The second picture is from 1931, and two years later Hitler will control the country. Serious looking Hermann Schmitz was from I.G. Farben, the chemical company that would become notorious for its role in developing Zyklon B used in the gas chambers in the Extermination Camps, and for this Herr Schmitz spent time in prison after World War II for Nazi war crimes.
Planck’s son, Erwin – who was also present at this formal affair but is not in this picture – was later executed by the Nazis as part of the plot to assassinate Hitler on July 20, 1944.
And then there’s the photographer Erich Salomon (b.1886). He died in 1944 in Auschwitz, which was supplied with chemicals from I.G. Farben.
The result is that Photo 2 is deeply laden with painful meaning, and I can never again see this picture with that initial innocence I had the first time I smiled along with Einstein as he made a point to the British Prime Minister. Such is the nature of images and the interaction and interdependence of our eyes and minds. To use an analogy: pictures are as much read they are as seen. And so, knowing what we know about Photo 2, there is nothing
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy

Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.
