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New Jewish-Themed Movie with Jason Schwartzman Is a Giant Miss
Films that feel fake right out of the gate, don’t usually find their footing. That’s the case with the new movie Between the Temples, which slips and slides all over the place. Not even Jason Schwartzman can save this disaster. He stars as Ben Gottlieb, a cantor at Temple Sinai in upstate New York.
I wondered how Schwartzman would play a cantor, considering. that he doesn’t have a good singing voice. That problem is solved with an absurd plot device in which he can’t chant the prayers and says “Yadid” instead of “Yedid Nefesh.” He’s been on sabbatical due to emotional trauma from the loss of his wife, an author who we don’t care about because we never see her.
A synagogue is often called a shul if one is Orthodox and might be called a temple if one is Conservative or Reform. Caroline Aaron of The Marvelous Mrs. Maisel plays Meira Gottlieb, Ben’s mother, and in one sentence she used both the word temple and shul — which nobody ever does. Like the rest of the film, it’s simply not authentic.
When Ben goes to eat with Carla, who wants to have an adult bat mitzvah, he notices the hamburger tastes really great. Carla (Carol Kane) explains that it is so tasty because it’s a cheeseburger, but the cheese is on the inside. Ben spits it out, saying that he is kosher and doesn’t eat milk and meat. If someone is kosher, the person would check to make sure the restaurant is kosher before sitting down.
I’m not even sure if that’s the dumbest moment of the film. It might be second to when the cantor has the rabbi’s daughter (maybe in her 20’s) perform a sexual act on him in his car near the gravestone of his deceased wife.
There’s also the notion that Carla could somehow go from not knowing Hebrew at all to chanting a Torah portion in a lonely three weeks. That’s not plausible.
In addition, in order to get her bat mitzvah bumped up a year, despite a girl already having a bat mitzvah scheduled for that date, he tells Rabbi Bruce (Robert Smigel) that she will give a donation, because you know how those Jews work! Any rule can be broken if you give a big enough donation! It’s a good thing this movie doesn’t arrive at a time when there is a rising amount of antisemitism!
Smigel is a great comedic talent, yet he gets nothing humorous to say. Like a man left in the cold waiting for a bus that never arrives, I was waiting for a zinger from Smigel — but we are left with nothing.
Rabbi Bruce’s daughter, Gabby, is a strange character, but actress Maddie Weinstein deserves some kind of award for making her plausible, despite having to do things no real person would do or say. Weinstein shows some star-power and should have gotten way more screen time, as she is the one bright spot in this film and has a magnetic persona.
The one good joke in the entire film is when Schwartzman says that Judaism doesn’t believe in heaven or Hell but there is upstate New York. Inexplicably, he says this to a priest — because you know how those cantors are! They don’t really believe in Judaism and when something goes wrong, they run into a church for answers!
Directed by Nathan Silver and written by Silver and C. Mason Wells, it is hard to fathom how they made such a boring and lazy film. There is one scene in which Ben meets an attractive woman via JDate, but she is not Jewish. Great, finally some tension. But of course, after about 40 seconds, that’s it and we don’t see the woman again.
Ben has two mothers, Meira and Judy, but their relationship gets very little screen time. We see Judy, who converted and is from the Philippines, try to push Ben and Gabby together. At one point, Ben calls gabby “Gah-Bay” which makes no sense, though it could be a reference to the name given to the person who stands on the bima in a synagogue and assigns the aliyah, but more likely it’s simply one of the many things here that are absurd.
I won’t give away the twist of the film, but you won’t see it coming because it’s totally implausible and you feel bad for the actors who are in a movie they know makes no sense. Schwartzman and Kane are superb actors, but a great chef can’t do much with rotting fish, and great actors can’t do much with a rotten script.
I’m all for anyone getting a bar or bat mitzvah at any age — but a film still needs to be entertaining and thoughtful. There were areas of great comedy and meaning that could have been explored in this film, but weren’t.
I saw the film in a theater last week, and a Jewish couple said it was terrible and asked if they had missed something. I told them they had not.
I’m sure Schwartzman and Kane will be terrific in their next film; Weinstein was excellent in this one. Sadly, Between the Temples is easily one of the worst Jewish films I’ve ever seen.
The author is a writer based in New York.
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Anti-Israel Agitators Vandalize Cornell University Administrative Building to Kick Off New Academic Year
Cornell University anti-Israel protesters set up encampment on the University’s Arts Quad, May 3, 2024. Photo: USA TODAY NETWORK via Reuters Connect
Anti-Israel students at Cornell University vandalized an administrative building on Monday, a provocation which marks an early test of the resolve of the interim president who announced new policies on “institutional neutrality,” discipline, and encampments around the time of incident.
According to the Cornell Daily Sun, the anti-Zionist agitators graffitied “Israel Bombs, Cornell pays” and “Blood is on your hands” on Day Hall. They also shattered the glazings of its front doors.
“We had to accept that the only way to make ourselves heard is by targeting the only thing the university administration really cares about: property,” the students told the paper. “With the start of this new academic year, the Cornell administration is trying desperately to upkeep a facade of normalcy knowing that, since last semester, they have been working tirelessly to uphold Cornell’s function as a fascist, classist, imperial machine.”
The students also took aim at interim president Michael Kotlikoff, who assumed office following the resignation of Martha Pollack earlier this summer. Accusing him of duplicity in managing a strike of the university’s employees, they supplied additional reasons for their actions.
“[He] has been antagonizing workers that keep this university running by engaging in bad-faith negotiations with the union and deploying scab workers — even himself — to undermine the solidarity of workers and power of the ongoing strike,” they explained.
The vandalism of Day Hall concurred with Kotlikoff’s issuing a lengthy statement which described how the university will respond to potentially disruptive protests, a problem which prematurely ended the tenures of four Ivy League presidents last academic year, including his predecessor. In it, Kotlikoff stressed his belief in upholding the “expressive activities of individuals” while maintaining that “they are bounded by the need to protect the core functions of the university and the reciprocal rights of others.” Adding that the university will permit encampments of the kind which emerged across the country in May, he concluded by outlining a no-tolerance approach to disciplinary infractions.
“Acts of violence, extended occupations of buildings, or destruction of property (including graffiti), will not be tolerated and will be subject to immediate public safety response,” he said. “We will enforce these policies consistently, for every group or activity, on any issue or subject …We urge all members of the community to express their views in a manner that respects the rights of others. One voice may never stifle another. There is a time, place, and manner for all to speak and all to be heard.”
It is not clear that Kotlikoff’s statement was prompted by the incident on Monday morning, but its concurrence with destruction of school property carried out in the name of anti-Zionism has nonetheless initiated an early appraisal of his style of governance and the measures he is prepared to enact to preserve order. Identifying and punishing the culprits could set off protests which disrupt the campus or cause a collision with the Cornell Daily Sun, which has agreed not to reveal their identities. Letting the incident slide may invite the scrutiny of the US Congress, which only last week asked the university to share its plans for deterring and responding to lawbreaking and antisemitic discrimination. As of this publication, he has not signaled which course of action he plans to take.
Anti-Zionists convulsed Cornell University’s campus last year, engaging in activities that are without precedent in the school’s 159-year history. In October, three weeks after Hamas’ massacre across southern Israel, now-former student Patrick Dai threatened to perpetrate heinous crimes against members of the school’s Jewish community, including mass murder and rape. Cornell students also occupied a campus building and held a “mock trial” in which they convicted Pollack of complicity in “apartheid” and “genocide against Palestinian civilians.” Meanwhile, history professor Russell Rickford called Hamas’ barbarity on Oct. 7 “exhilarating” and “energizing” at a pro-Palestinian rally held on campus.
By the end of the year, Pollack announced her resignation, which followed the installment of an illegal “Gaza Solidarity Encampment” on the campus where pro-Hamas students had lived and protested the university’s investments in companies linked to Israel. During that time, she oversaw at least four full and temporary suspensions of the protesters and issued ultimatums to those who refuse to leave.
“Continued delay is not in the university’s best interests, both because of the need to have sufficient time for a smooth transition before the start of the academic year, and because I do not want my announcement to interfere with the celebration of our newest graduates at commencement in just a few weeks,” she said in announcing her decision to resign. “I understand that there will be lots of speculation about my decision, so let me be as clear as I can: this decision is mine and mine alone. After seven fruitful and gratifying years as Cornell’s president — and after a career in research and academia spanning five decades — I’m ready for a new chapter in my life.”
Follow Dion J. Pierre @DionJPierre.
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Terror Group’s News Outlet Deletes Article About PFLP-Tied Journalist Criticized for Emmy Nomination
Palestinian PFLP supporters seen during a rally marking the 52nd anniversary of its founding, in the West Bank city of Nablus, on Dec. 14, 2019. Photo: Nasser Ishtayeh/Flash90.
A Gaza-based news outlet established by the Popular Front for the Liberation of Palestine (PFLP) deleted an article that praised Gaza journalist Bisan Owda amid controversy about her receiving an Emmy nomination because of her connection to the US-designated terrorist organization.
The Arabic-language publication Al-Hadaf, which serves as the mouthpiece for the PFLP, deleted an article titled “Journalism in the Crosshairs of Politics… how Bisan Owda became a symbol of resistance journalism” that was published on Thursday, according to The Jerusalem Post. The move came after more than 150 members of the entertainment industry called on the National Academy of Television Arts & Sciences (NATAS) last week to rescind Owda’s Emmy nomination due to her support for the PFLP.
The Gaza-based Palestinian journalist and filmmaker was nominated for her documentary series “It’s Bisan From Gaza and I’m Still Alive” in the 2024 Emmy Awards for News & Documentary in the category of outstanding hard news feature story: short form. In the docuseries, Owda reports from Gaza and documents the daily life of Palestinians during the ongoing Israel-Hamas war.
The docuseries was a collaboration with the digital media outlet AJ+ which is based in the US and is a subsidiary of the Qatari-owned media outlet Al Jazeera. In 2020, the US Department of Justice ordered AJ+ to register as a foreign agent under the Foreign Agents Registration Act (FARA). The Justice Department declared that the outlet, which is backed by the royal family of Qatar, engages in “political activities” on behalf of Qatar’s government and is “designed to influence American perceptions of a domestic policy issue or a foreign nation’s activities or its leadership.” However, the outlet has refused to follow the department’s orders.
Owda’s longstanding ties to PFLP – which is designated as a terrorist organization in US, Israel, European Union and Canada — was exposed shortly after her Emmy nomination was announced in mid-July. She attended and spoke at PFLP rallies, hosted events honoring Palestinians fighting Israeli soldiers, and the PFLP referred to her in 2018 as a member of its Progressive Youth Union. She also regularly makes anti-Zionist comments on social media while reporting from Gaza about the Israel-Hamas war.
More than 150 entertainment industry figures said in an open letter to NATAS that Owda’s Emmy nomination is in violation of the Academy’s code of ethical conduct, and is also “deeply troubling, given the creator’s history of promoting dangerous falsehoods, spreading antisemitism, and condoning violence.” The letter was spearheaded by the nonprofit organization Creative Community for Peace.
In response to the open letter, NATAS President and CEO Adam Sharp sent a letter to CCFP President Ari Ingel defending Owda’s nomination.
“NATAS is aware of reports, cited in your letter and initially surfaced by a communications consultant in the region, that appear to show a then-teenaged Bisan Owda speaking at various PFLP-associated events between six and nine years ago. NATAS has been unable to corroborate these reports, nor has it been able, to date, to surface any evidence of more contemporary or active involvement by Owda with the PFLP organization,” Sharp wrote.
He explained that Owda’s docuseries “was reviewed by two successive panels of independent judges, including senior editorial leadership from each significant US broadcast news network.” The panels concluded that “It’s Bisan From Gaza and I’m Still Alive” was “consistent with competition rules and NATAS policies.”
“Accordingly, NATAS has found no grounds, to date, upon which to overturn the editorial judgment of the independent journalists who reviewed the material,” he added. Sharp also told Ingel that some Emmy nominations “have been controversial, giving a platform to voices that certain viewers may find objectionable or even abhorrent. But all have been in the service of the journalistic mission to capture every facet of the story.”
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Germany Returns Painting Stolen for Hitler’s Museum to Heirs of Jewish Owner
A partial view of “The Valley of Mills near Amalfi” by Carl Blechen. Photo: Bridgeman Art Library via Wikimedia Commons
Germany has restituted a painting that was stolen by the Nazis in 1942 from the family of two Jewish brothers and intended to be used in a museum for Nazi leader Adolf Hitler.
The landscape painting “Valley of Mills near Amalfi” (ca. 1830) by the 19th century German artist Carl Blechen was owned by Arthur and Eugen Goldschmidt, who were also art collectors. The painting was purchased by their father in Berlin and inherited by the brothers when he died. Arthur, who was also a publisher, and Eugen, who was a chemist, faced Nazi persecution and shortly after Kristallnacht in November 1938, the brothers committed suicide.
Their art collection was inherited by their nephew Edgar Moor but he had recently emigrated to Johannesburg, South Africa, so the artworks stayed in the brothers’ former apartment in Berlin. In July 1942, the Gestapo confiscated everything owned by Moor that remained in Germany, including “Valley of Mills near Amalfi.” Germany’s Federal Art Administration announced that the German government returned the Blechen painting to Moor’s heirs earlier this month after the signing of a restitution agreement in May.
“Based on the information available, it can be safely assumed that the painting in question was confiscated by Edgar Moor as a result of Nazi persecution,” the Federal Art Administration said. Including “The Valley of Mills near Amalfi,” the Federal Republic of Germany has restituted 69 artworks.
The Blechen painting was bought in 1944 by a special commission organized by Hitler to acquire items that would be displayed at a Fürhermuseum he planned to open in Linz, Austria. “Valley of Mills near Amalfi“ was stored inside Hitler’s building in Munich called Führerbau, which stills stands today, but it was stolen in 1945. The Munich police got a hold of the painting in 1946, and in June 1949, the American military government transferred it and other objects that had not been restituted to Bavarian Prime Minister Hans Ehard. The painting was handed over to Germany’s federal government in 1952 and was officially made federal property in 1960, along with other items formerly owned by the Nazis.
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