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The real story behind Jewish family comedy ‘iMordecai’ and its unusual path to the big screen
(JTA) — The real Mordecai Samel, at the time in his late 70s, really didn’t want an iPhone in 2015.
The Holocaust survivor who had been living in South Florida since 2004 didn’t see a need. His taped-together flip phone worked fine. But his son Marvin insisted.
One thing that helped convince Mordecai to give in: the ability to listen to the klezmer music of his youth that the iPhone provided.
“One day I got off a plane, and I called my dad, and all I could hear was static,” Marvin Samel said.
Soon Mordecai was going to iPhone lessons at a local store six times a week.
“It’s there that I see my father holding court, telling stories,” Marvin said about the lessons, “and I said, this is it. This is the vehicle to tell the story as a screenplay.”
Thus sprung an unusual comedy film that hits theaters Friday inspired directly by first-time director Marvin Samel’s life, centered on a Jewish family that is split by a stark generational divide.
In the film — as in the Samels’ real lives — Marvin (played by Sean Astin) attempts to sell his cigar company while his father’s antics continually get in the way and his mother (Carol Kane), who has Alzheimer’s Disease, sometimes wanders off.
“I had to tone him down for the movie, because no one would believe me if I actually printed the truth. He’s always getting himself into trouble,” Samel said of the real Mordecai, a retired plumber who is played onscreen by Tony and Emmy Award winner Judd Hirsch.
At the same time, Marvin’s wife, who has just given birth to twins, is upset with him about delays in the company sale and the family’s resulting cash crunch. Mordecai agrees to take the iPhone lessons and befriends the instructor (Azia Dinea Hale) who he calls “Einstein Nina,” someone with a surprising family backstory of her own.
Mordecai tells her some stories about his family’s escape from the Nazis when he was a child, showing her family pictures from before the war and noting that he can’t remember his mother’s face. These stories, Marvin Samel said, were inspired more by the stories told by Mordecai’s brother, who was older when the family fled, than by his own. The family left Poland in 1939, when Mordecai was three and his older brother was six. They first went to the Soviet Union and eventually to Brooklyn.
Mordecai’s family was from Janów Podlaski, a small town in Poland at the center of the territory split by Hitler and Stalin in 1939. Some flashback sequences are presented in animation.
Marvin Samel sold his company, Drew Estate Cigars, back in 2014. The film was mostly self-financed, in part from the proceeds of the cigar company’s sale, “all the way through distribution.” While Samel has always loved the movies, even seeing movies like “Taxi Driver” and “Hair” when he was much too young to do so — “my Temple, growing up, was the movie theater,” he said — he had never before set foot on a movie set prior to the first day of filming of “iMordecai.”
Samel taught himself filmmaking, in part, by taking online courses through MasterClass from the likes of Martin Scorsese, Ron Howard and Jodie Foster, and he also had a chance meeting at a dinner with retired basketball star Ray Allen, who had made a novice acting appearance in Spike Lee’s “He Got Game” when he was in his early 20s. Allen’s advice was to spend some time on movie sets to get a feel for things, but not much was filming in South Florida at the time.
Sean Astin, right, plays Marvin Samel’s character. (FeMor Productions)
“iMordecai” was shot in 23 days in late 2019, meaning that Samel filmed a movie that starred Hirsch as a heavily-accented, old-world Jewish immigrant inspired by a relative of the filmmaker at least a year before Steven Spielberg did the same for “The Fabelmans.” Hirsch is nominated for an Oscar for his role in that movie, his first Academy Award nomination since “Ordinary People” more than 40 years earlier.
Samel’s film, which features the city of Miami extensively, has been a hit so far in Florida. It had its world premiere in January 2022 at the Miami Jewish Film Festival, where it won the audience award for best narrative film.
“I think that this film has the capacity to possibly impact and resonate with people of all ages,” said Igor Shteyrenberg, executive director of the festival.
Samel is taking the film on a tour that criss-crossed the Sunshine State this month, including a run of 10 shows at The Villages, the world’s largest retirement community. That tour, in which the real Mordecai has been on stage at times, headed to New York’s Quad Cinemas this week, and a limited theatrical release — also heavy in Florida — starts Friday. Tour dates in such markets as Dallas, Phoenix, Chicago are next, prior to a return to Florida, Samel said.
Perhaps the success with the older Florida crowd has to do with the universality of the film’s subject matter. Even Warren Buffett, the famed investor, turned in his flip phone for an iPhone back in 2020, when he was nearly 90, even though he had bought many billions of dollars in Apple stock by that point.
Yvette Miro, a 99-year-old who lives in Tamarac, Florida, said it’s “hard to remember not having” an iPhone after getting one to replace her flip phone about 10 years ago. A Brooklyn native — she attended Eastern District High School at the same time as Mel Brooks, who was a couple of years younger — Miro has lived in Florida since 1999, and even at her age continues to host weekly Shabbat dinners with her family, including her nine grandchildren and more than 30 great-grandchildren.
But unlike Mordecai, rather than badgered into getting the iPhone, she got one herself.
“I heard about it, I wanted it. I’m old, but I had to keep up with the times,” she said.
She now uses it for “everything… especially FaceTime, where I can see [the kids]. I use it even more than my regular phone.”
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The gift Tom Stoppard gave to me — and to all who adore him
In 2022, during a reporting trip to London, I had tea with a source who confessed to me that her mother’s central interest was the work of Tom Stoppard. It was more than an interest, really: “He was the main thing in her life,” she said.
There are artists you admire, and then there are artists you flat-out adore. Particularly cerebral types, like Stoppard, risk falling into the first category: They may generate great thoughts, but those great thoughts have a great chance of leaving you cold. That wasn’t the case for Stoppard, who died Saturday at 88, and was a thinker worth adoring. His best work achieved a rare balance: Audiences left his most affecting plays with both a fresh perspective on the world, and a feeling of great warmth toward it.
I felt that myself, after seeing a much-heralded revival of Stoppard’s Travesties on Broadway in 2018. It’s quite a highbrow play, about the brief intersection, in Switzerland during World War I, of the lives and work of James Joyce, Vladimir Lenin and Tristan Tzara, founder of Dadaism. It made me laugh until I cried. And the gloss Stoppard bestowed on this obscure episode of history followed me out of the theater, giving a brief sheen to everything and everyone I saw. I felt as though I floated back to Brooklyn, and as if the Q train might be full of personalities I’d never guess were important until years afterward.
Much of Stoppard’s work revolved around the question of what it really means to live an important life — one that is not just full, but has some kind of identifiable impact on others. The main character of Travesties isn’t Joyce, Lenin or Tzara; he’s an endearingly self-satisfied British diplomat, Henry Carr, who briefly found himself in the same circles as those luminaries. As the play opens, decades later, he’s trying to conjure up a memoir about his time in the presence of the greats, with the implication that he deserves to be considered among their ranks.
In Rosencrantz and Guildenstern Are Dead, the play that made Stoppard into a star at age 29, the two title characters grapple with their inability to in any way change the course of a narrative — that of Hamlet — that they know will lead to their deaths. In Shakespeare in Love, the film that won Stoppard an Oscar in 1998, he and his coauthor Marc Norman imagined the king of English playwrights as a young man full of talent but still struggling toward greatness, in need of an overwhelming emotional shock to propel him into complete ownership of his gifts.
There are the 19th-century Russian revolutionaries of the ambitious trilogy The Coast of Utopia; the intellectuals seeking to redefine the world and its history in Arcadia; the striving academics of The Hard Problem; the newly emancipated Viennese Jews of Leopoldstadt, the play Stoppard wrote that most profoundly invoked his heritage. Over and over, variations of the same question emerge. What does it mean to live completely and well, as an individual and a member of society?
“If there is any meaning in any of it” — “it” being the brutal course of history, its neverending cycles of destruction — “it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities,” Joyce declares in Travesties. Later, Carr echoes him — a surprise, as the two hold very little respect for one another. When told that the only relevant function of art is “social criticism,” he protests.
“A great deal of what we call art,” he says, “has no such function, and yet in some way it gratifies a hunger that is common to princes and peasants.”
Not everyone wants to be an artist, and, as Carr reflects at the end of Travesties, it’s a sure thing that not everyone can be. But in the wake of Stoppard’s death, I’ve found myself thinking about the mother of my one-time source, so enraptured by what Stoppard created that her own child saw his work as the most profound passion of her life.
It’s easy to say that kind of effect made Stoppard’s life important. But the quieter story, I think, is that it made that devoted fan’s life important, too. Because she loved Stoppard, she saw herself as more firmly secured in her own existence; she saw herself as having a purpose and place.
To help someone experience their own significance — to gratify the common hunger that afflicts us all — is a great gift. And Stoppard gave it to many, including to me.
The post The gift Tom Stoppard gave to me — and to all who adore him appeared first on The Forward.
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Iran to Boycott World Cup Draw Over Visa Restrictions
Soccer Football – World Cup Playoff Tournament and European Playoff draws – FIFA Headquarters, Zurich, Switzerland- November 20, 2025 The original FIFA World Cup trophy is kept on display during the draws. Photo: REUTERS/Denis Balibouse
Iran intends to boycott next week’s World Cup draw due to the limited number of visas allocated to the country’s football federation.
According to the Tehran Times, the United States issued visas to only four members of Iran‘s delegation, with requests for three additional visas denied, including one for Iranian Football Federation (FFIRI) President Mehdi Taj.
“We have informed FIFA that the decisions taken are unrelated to sport and that the members of the Iranian delegation will not participate in the World Cup draw,” FFIRI spokesman Mehdi Alavi said on Friday, per the report.
Alavi said the federation has been in contact with FIFA in an effort to resolve the situation.
The World Cup draw will take place on Dec. 5 at the Kennedy Center in Washington, D.C.
The expanded 48-team World Cup is being hosted by the United States, Canada and Mexico from June 11 to July 19, 2026. Matches will be played at 16 venues, including three in Mexico and two in Canada.
The draw will sort the teams into 12 groups of four. The top two teams from each group and the eight best third-place teams will advance to the knockout stage.
Iran has secured a spot in its fourth consecutive World Cup and seventh appearance overall.
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Dublin to Rename Chaim Herzog Park in a Move Slammed as Attempt to Erase Jewish History
Anti-Israel demonstrators stand outside the Israeli embassy after Ireland has announced it will recognize a Palestinian state, in Dublin, Ireland, May 22, 2024. Photo: REUTERS/Molly Darlington
i24 News – Citing the Gaza war, Dublin city council voted to rename a park honoring Israel’s sixth president, the Irish-born Chaim Herzog, in further manifestation of anti-Israel sentiment in the country.
While a new name is yet to be chosen, reports cite efforts by pro-Palestinian activists to change it to the “Free Palestine Park.”
Former Irish justice minister Alan Shatter harshly criticized the vote, charging that “Dublin City Council has now gone full on Nazi & a committee of the Council has determined it should erase Jewish/Irish history. Herzog Park in Rathgar is named after Chaim Herzog, Israel’s 6th President, brought up in Dublin by his father, Yitzhak HaLevi Herzog, a friend of Eamon De Valera, who was Chief Rabbi of Ireland & Israel’s first Chief Rabbi… Some councillors want the Park renamed ‘Free Palestine Park.”
The Jewish Representative Council of Ireland issued a statement regarding the renaming of Herzog Park.
“It sends a hurtful and isolating message to a small minority community that has contributed to Ireland for centuries. We call on Dublin City Councillors to reject this motion. The removal of the Herzog name from this park would be widely understood as an attempt to erase our Irish Jewish history.”
A virtuoso diplomat and an intellectual giant, Herzog had served in a variety of roles throughout his storied career, including a memorable stint as the ambassador to the United Nations, where in 1975 he delivered a speech condemning the Soviet-engineered resolution to brand Zionism as a form of racism. The address is now regarded as a classic, along with the oration from the same session by the US Ambassador Daniel Patrick Moynihan.
Israel’s Foreign Minister Gideon Sa’ar slammed the decision, saying that Ireland’s “antisemitic and anti-Israel obsession is sickening.”