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‘Fabelmans’ flops at the Oscars, but Hollywood’s Jewish history gets a nod

(JTA) – With seven nominations for his most personal film ever, this could have been Steven Spielberg’s biggest year at the Academy Awards. But the hot-dog fingers had other plans.

“The Fabelmans,” the director’s highly personal dramatization of his Jewish upbringing, didn’t win a single one of the Oscars it was nominated for Sunday night. Spielberg’s film lost out on the biggest categories, including best picture, director, actress, and original screenplay, all to the same movie: chaos-theory multiverse comedy “Everything Everywhere All At Once,” where the aforementioned hot-dog fingers play a starring role.

But while the most Jewish movie came up empty-handed, other Jewish stories played out on the movies’ biggest night. Here’s what you need to know.

‘Fabelmans’ follies

Spielberg’s autobiographical opus may have come up empty-handed Sunday, but it got a booby prize: “The Fabelmans” was host Jimmy Kimmel’s favorite punchline. Kimmel used his monologue to drop a series of jokes about the film, including dubbing Spielberg and star Seth Rogen “the Joe and Hunter Biden of Hollywood”; speculating that nominated co-star Judd Hirsch was actually absentee Tom Cruise in a mask; and warning anyone plotting to slap him Will Smith-style, “You’re gonna have to go through the Fabelman to get to me.”

Later, Kimmel kept up the bit, introducing Paul Dano and Julia Louis-Dreyfus to present an award. Kimmel billed them as “Steven Spielberg’s dad and Jonah Hill’s mom,” referencing not only Dano’s role in “The Fabelmans,” but also Louis-Dreyfus’ part as a clueless white Jewish mother in the much-maligned Netflix film “You People.”

Getting loud for ‘All Quiet’

“All Quiet on the Western Front,” Netflix’s grueling drama about German soldiers on the frontlines of World War I, ended the night with four Oscars: international feature film, original score, cinematography and production design. In addition to having a Jewish producer, the movie was also adapted from a novel and 1930 film that both met the ire of the Nazi party and were tarred as Jewish plots to destroy the German state.

Another anti-dictator winner on Sunday was “Guillermo Del Toro’s Pinocchio,” which won the animated feature Oscar. Set in Fascist Italy, the Netflix film features a scene of Pinocchio mocking Il Duce himself, Benito Mussolini.

A Jewish ‘Goonies brother for life’

One of the most heartwarming moments of the evening was the best supporting actor win for Ke Huy Quan for “Everything Everywhere All At Once.” Quan, a former child actor, had abandoned his onscreen career for decades before his big comeback role last year. In his emotional acceptance speech, Quan gave a special shout-out to “my ‘Goonies’ brother for life,” Jeff Cohen — a Jewish former child star turned entertainment lawyer. Cohen and Quan appeared in “The Goonies” together in 1985, and when Quan landed his big “Everything Everywhere” role, Cohen negotiated the terms of his deal.

Jamie Lee Curtis and Sarah Polley

There were a couple big-name Oscar winners with Jewish parents. Immediately after Quan’s big moment, veteran actress Jamie Lee Curtis picked up her first-ever Oscar, also for “Everything Everywhere.” It was also a big moment for the “Halloween” star. “My mother and my father were both nominated for Oscars in different categories,” Curtis noted during her speech. Tony Curtis, Jamie Lee’s Jewish father, was one of the biggest stars of Golden Age Hollywood yet received only one Oscar nomination, in 1959 for “The Defiant Ones.”

Another winner with a Jewish father: the writer-director-actor Sarah Polley, who won best adapted screenplay for “Women Talking.” Polley explored the secret of her biological parentage in her 2013 documentary “Stories We Tell.” “Women Talking” is set inside a different religious community: an isolated Mennonite society in which the women have been systematically, sexually abused by the men.

Navalny and the neo-Nazis

The winner for best documentary went to a profile of Russian opposition leader Alexei Navalny, whose 2020 poisoning by KGB agents after he publicly criticized Vladimir Putin was an international scandal. Navalny is currently imprisoned in Russian solitary confinement; the filmmakers dedicated the award to him. The documentary also details an aspect of Navalny’s campaign more controversial to Western observers: his onetime support of the “Russian march,” a gathering of Russian neo-Nazi organizations.

Diane Warren’s no-win situation

Did you know the songwriter Diane Warren is a 14-time Academy Award nominee? Singer Sofia Carson reminded everyone in the middle of the evening’s first performance for best original song. Warren, who is Jewish, joined in the performance of “Applause,” her composition from the feminist documentary “Tell It Like A Woman.” She has never won an Oscar, and unfortunately for her, the streak continued Sunday night as the viral sensation “Naatu Naatu,” from the Indian film “RRR,” took the prize. (As a consolation, Warren received an honorary Oscar at the Governor’s Awards preceding the telecast.)

Another Jew-ish shutout

Also drawing blanks was “Tár,” the cerebral classical-music psychological drama with somewhat inexplicable Jewish themes.

Hollywood’s Jewish history gets a nod

The broadcast included a promotional video for the Academy Museum, which opened last year to celebrate the history of Hollywood. In the video, a curator named Dara Jaffe explains that one of the museum’s roles is to “bring important film histories to light, from the Jewish immigrants who founded the Hollywood studios to the early innovators of African-American cinema.” The inclusion is notable because the museum drew steep criticism when it first opened for giving short shrift to the industry’s robust Jewish history; Jaffe was appointed to put together a permanent exhibition about that history in response. The exhibition has not yet opened.

On this #Oscars night, we celebrate the incredible work of our team at the Academy Museum. This institution advances the understanding, celebration, and preservation of cinema through inclusive and accessible exhibitions, screenings, programs, initiatives, and collections. pic.twitter.com/6DEM9TUXiG

— Academy Museum of Motion Pictures (@AcademyMuseum) March 13, 2023


The post ‘Fabelmans’ flops at the Oscars, but Hollywood’s Jewish history gets a nod appeared first on Jewish Telegraphic Agency.

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Was Teddy Roosevelt’s favorite play the original ‘Nobody Wants This’?

The Emmy-nominated Netflix show Nobody Wants This, a series about the challenges of an interfaith romance between a “hot rabbi” and his non-Jewish girlfriend, is now back for a sophomore season. When it debuted last fall, Nobody Wants This sparked heated criticism for trafficking in negative stereotypes about Jewish women. A writer for Glamour called her own mother to lament of the series: “I can’t imagine any guy who watches this show who would then say, ‘I really want to date a Jewish girl!’”

The commentary on Nobody Wants This is just as noteworthy for what it does not emphasize: the possible implications of interfaith marriage for the perpetuity of the Jewish people. That silence is all the more notable given the Jewish reaction more than a century ago to another dramatization of Jewish-Christian romance: The Melting-Pot, by the British Jewish playwright Israel Zangwill.

Whereas the early 20th-century play provoked outrage for seeming to endorse Jewish self-erasure, the modern TV program has not stoked such existential angst. Comparing Jewish reactions to these two tales of interfaith love reveals how much the landscape of Jewish life has shifted to accept blended families.

Noah Roklov, the hot rabbi in question played by Adam Brody, confronts professional and familial pressure to leave Joanne Williams (Kristen Bell) in favor of a Jewish substitute; Joanne—memorably described by Noah’s senior rabbi and boss as a “nice blonde crabcake”—struggles to confront the reality that she might have no place in his future.

When Nobody Wants This debuted, there was practically instantaneous pushback to its portrayal of Jewish women, all of whom were depicted as either materialistic, nagging or controlling—or some combination thereof. There’s Noah’s ex-girlfriend, Rebecca, who cares far more about achieving the milestone of marriage than about who she would be marrying. Even worse is Esther, Noah’s sister-in-law, whose principal purpose in life is to berate her daffy husband into obeisance.

The apex of Nobody Wants This’ deeply flawed Jewish female representation is that of Noah’s mother Bina, who tries to puppeteer her son out of his relationship with Joanne through both cajoling and sabotage. (Would it even be a hackneyed Jewish trope without the archetype of the overbearing Jewish mother?)

In contrast to the portrayal of Jewish women, the communal response to a rabbi in an interfaith relationship was notably muted. The show itself was very much alive to those stakes—Noah’s boss cautions that his path with Joanne, absent her conversion, would lead to a world in which every Jew “marries a goy, then there are no more Jewish children, and then our people become extinct.” Yet critiques of the series overwhelmingly focused on its unflattering portrayal of Jewish women.

This relative silence from critics about Jewish continuity would have stunned Jewish audiences of Theodore Roosevelt’s era, who railed against the celebration of Jewish-Christian romance in The Melting-Pot. That play tells the tale of David and Vera, both emigrants from Russia who found their way to New York. David is a Jewish survivor of the notorious Kishinev pogrom, a real-life massacre in what is now Moldova that took place in 1903. Vera is the Christian daughter of a Russian military official.

Their improbable romance takes root in the assimilative soil of the New World. The young couple is even able to overcome the morbid revelation that Vera’s father had ordered troops to shoot innocent Jews during the Kishinev pogrom. Yet in Zangwill’s idealized version of the United States, newcomers like David and Vera could free themselves from the tired identities and bitter tragedies of the Old Country and smelt their ethnicities into an unadulterated American identity.

In the play’s closing scene, David watches the sun set over the Western horizon and reflects in awe, “There she lies, the great Melting Pot. … Celt and Latin, Slav and Teuton, Greek and Syrian, black and yellow.” Vera warmly presses into David and adds, “Jew and Gentile.” He goes on, “Yes, East and West, and North and South, the palm and the pine, the pole and the equator, the crescent and the cross—how the great Alchemist melts and fuses them with his purging flame!”

The Melting-Pot premiered in October 1908 at the Columbia Theatre, mere blocks from the White House. Then-president Theodore Roosevelt himself was in attendance on opening night. After the final curtain, the president called down to Zangwill from his box, “A great play! A great play!” Roosevelt’s Jewish constituents did not share his enthusiasm.

Across the country, Jews denounced The Melting-Pot for ostensibly making a virtue of self-annihilation through interfaith marriage. A throng flooded into the Free Synagogue on the Upper West Side to hear Rabbi Leon Harrison condemn Zangwill’s production.  The rabbi warned that “the little Jewish race would be diluted to extinction” if life imitated Zangwill’s art. Harrison excoriated the playwright for “sacrificing the ancient sanctities of his people’s faith on the altar of sentimental claptrap.”

The repudiation was no less pointed on the other side of Central Park, where Rabbi Judas Magnes of Temple Beth-El seethed against Zangwill’s “pernicious” play. “The melting process glorifies disloyalty to one’s inheritance,” Magnes griped. He saw in The Melting-Pot the alarming prospect of voluntary eradication, insisting, “We cannot be thankful to anyone for preaching suicide to us.”

Even as Zangwill’s fantasy of mass assimilation into the American Dream applied to all subgroups, Rabbi Magnes argued that intermarriage posed a particular menace to the Jewish people. After all, the new immigrant from Ireland or Germany could marry outside their heritage while resting assured that back home, their people would endure from generation to generation. But the Jew had no homeland where fellow coreligionists would ensure Jewish survival. “America spells his great hope for the preservation of Judaism,” Magnes pleaded.

The divergent reactions to Nobody Wants This and The Melting-Pot are striking. Perhaps one reason that the TV show has prompted a muted response regarding Jewish perpetuity might be that multi-faith matches have become normalized. When Zangwill’s play first ran, interreligious unions for Jews were exceedingly rare; his idealization of Jewish-Gentile love shocked the Jewish conscience.

But nuptials between a Jew and non-Jew are now more common than not, especially outside the Orthodox community.  A 2020 study from Pew found that 72% of non-Orthodox Jews who had married in the preceding decade were wedded to non-Jews. Another possible explanation why Nobody Wants This did not elicit angst about Jewish self-erasure is that the children of Jewish-Gentile couples are      increasingly likely to identify as Jewish. That same Pew study determined that among children resulting from interfaith marriages, those under 50 were more than twice as likely to identify as Jewish as their older peers.

This trend might preempt worries that intermarriage inevitably marks the end of Jewish tradition for that family line. Still another factor is Israel: no longer do Jews lack a homeland designed to safeguard their peoplehood.

The Jewish responses to Nobody Wants This and The Melting-Pot are in a sense mirror images of each other—the former effectively criticizes Jewish characters for being too insular, the latter for not maintaining enough distance.  After all, the Jewish women of Nobody Wants This are at their worst in their rage-laden rejection of Joanne. Critics’ consternation about the show’s gender stereotyping can be understood, then, as a kind of plea: “America, don’t believe this show. Jews are actually warm and welcoming, not gratingly clannish.”

It is telling that the most favorably depicted Jewish female character, Noah’s former Jewish camp counselor, is also the one most favorably disposed toward his Gentile girlfriend. The Jewish reaction to The Melting-Pot was, of course, just the opposite, inveighing against any embrace of interfaith romance.

But in another sense, critics then and now have really wrestled with the same question: how should Jews navigate the fraught relationship between belonging and survival? To win the acceptance of Gentiles is to ensure Jewish security. Yet when acceptance becomes so complete that Gentiles are willing to marry Jews and raise children together, then Jews risk dissolving into the broader society. Belonging could well spell the end of survival.

Such is the tightrope walk of the Jew. Too little inclusion can threaten your safety; too much might result in your self-induced disappearance. Whether to shift your weight more to one side or the other in order to maintain equilibrium will depend on the contingencies of the day.

With season two of Nobody Wants This finally here, our own critical reaction—even more than the show’s plot—will suggest much about how Jews think they can best maintain an always precarious balance in our own uncertain moment. To stick to the tribe at all costs, or melt into the culture around you? No matter the decade, the same Jewish questions persist.

The post Was Teddy Roosevelt’s favorite play the original ‘Nobody Wants This’? appeared first on The Forward.

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JD Vance condemns Knesset vote on West Bank annexation as ‘very stupid’ as Trump says it ‘won’t happen’

(JTA) — Vice President J.D. Vance denounced a vote by Israeli lawmakers to advance West Bank annexation as “weird” and personally offensive, in comments as he departed Israel after a two-day visit aimed at shoring up the Gaza ceasefire.

In part to increase pressure on Israeli Prime Minister Benjamin Netanyahu, right-wing lawmakers signed off on two bills related to annexation on Wednesday in an early stage of the legislative process. Most members of Netanyahu’s party boycotted the votes, and the bills are seen as unlikely to advance to become law.

President Donald Trump has said annexation is off the table in his view as he seeks to solidify peace in the region and secure additional relationships between Israel and Arab nations.

Vance said he was told the Knesset vote was purely symbolic, which he said he did not understand. “If it was a political stunt, it was a very stupid political stunt, and I personally take some insult to it,” he said.

Secretary of State Marco Rubio is replacing Vance in Israel, two weeks into the U.S.-brokered truce in the Gaza war amid questions over its durability. Trump’s plan said it aimed to create “a credible pathway” toward a Palestinian state, of which portions of the West Bank would be an expected component.

Rubio also criticized the annexation vote in comments to reporters late Wednesday. “They’re a democracy, they’re going to have their votes. People are going to take these positions,” Rubio said. But, he added, “We think it might be counterproductive.”

Trump’s stance on the issue received new clarity on Thursday as Time Magazine published the full transcript of its interview with him earlier this month. Asked what the consequences would be if annexation moved forward despite Trump’s instruction to Netanyahu not to allow it, the president said the cost would be steep.

“It won’t happen. It won’t happen. It won’t happen because I gave my word to the Arab countries,” Trump said. “And you can’t do that now. We’ve had great Arab support. It won’t happen because I gave my word to the Arab countries. It will not happen. Israel would lose all of its support from the United States if that happened.”

The post JD Vance condemns Knesset vote on West Bank annexation as ‘very stupid’ as Trump says it ‘won’t happen’ appeared first on The Forward.

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JD Vance condemns Knesset vote on West Bank annexation as ‘very stupid’ as Trump says it ‘won’t happen’

Vice President J.D. Vance denounced a vote by Israeli lawmakers to advance West Bank annexation as “weird” and personally offensive, in comments as he departed Israel after a two-day visit aimed at shoring up the Gaza ceasefire.

In part to increase pressure on Israeli Prime Minister Benjamin Netanyahu, right-wing lawmakers signed off on two bills related to annexation on Wednesday in an early stage of the legislative process. Most members of Netanyahu’s party boycotted the votes, and the bills are seen as unlikely to advance to become law.

President Donald Trump has said annexation is off the table in his view as he seeks to solidify peace in the region and secure additional relationships between Israel and Arab nations.

Vance said he was told the Knesset vote was purely symbolic, which he said he did not understand. “If it was a political stunt, it was a very stupid political stunt, and I personally take some insult to it,” he said.

Secretary of State Marco Rubio is replacing Vance in Israel, two weeks into the U.S.-brokered truce in the Gaza war amid questions over its durability. Trump’s plan said it aimed to create “a credible pathway” toward a Palestinian state, of which portions of the West Bank would be an expected component.

Rubio also criticized the annexation vote in comments to reporters late Wednesday. “They’re a democracy, they’re going to have their votes. People are going to take these positions,” Rubio said. But, he added, “We think it might be counterproductive.”

Trump’s stance on the issue received new clarity on Thursday as Time Magazine published the full transcript of its interview with him earlier this month. Asked what the consequences would be if annexation moved forward despite Trump’s instruction to Netanyahu not to allow it, the president said the cost would be steep.

“It won’t happen. It won’t happen. It won’t happen because I gave my word to the Arab countries,” Trump said. “And you can’t do that now. We’ve had great Arab support. It won’t happen because I gave my word to the Arab countries. It will not happen. Israel would lose all of its support from the United States if that happened.”


The post JD Vance condemns Knesset vote on West Bank annexation as ‘very stupid’ as Trump says it ‘won’t happen’ appeared first on Jewish Telegraphic Agency.

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