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Arts & Culture | Film

The Banality Of Violence?

10/04/2011 | George Robinson | Special to the Jewish Week | Film
Jodie Foster, left, John C. Reilly, Christoph Waltz and Kate Winslet in Roman Polanski’s “Carnage.” Guy Ferrandis/Sony Pictures

There is a tiny detail in “Carnage,” the new Roman Polanski film that opened this year’s New York Film Festival, something small but telling in the excellent production design by Dean Tavoularis. The film, which is almost a verbatim rendering of Jewish playwright Yasmina Reza’s “God of Carnage,” is a sardonic reflection on how well-intentioned and soi-disant sophisticated New Yorkers deal with the intrusion of violence on a small scale into their lives.

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One Hungarian Town’s Lost Jews

09/20/2011 | George Robinson | Special to the Jewish Week | Film
The elementary school in Kalosca, Hungary, in 1942.

Eva Gregory recalls the moment when she realized that her family was in great peril. Then a young girl, she had accidentally dropped and shattered an entire set of expensive china. Horrified at what she had done, she braced for her mother’s explosion, but all her mother said was, “It’s all right. This doesn’t matter anymore.” Gregory, now an elderly woman, says, “That’s when I realized how bad the situation was.”

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The Last Jewish Olympiad Of Berlin

09/13/2011 | George Robinson | Special To The Jewish Week | Film
Members of the German track-and-field team with Nazi Party officials.

Racism is a virulent form of insanity. It makes people do stupid, self-defeating things. Consider the case of the Nazis and their preparation for the 1936 Olympics, held in Berlin. Among the best athletes preparing to compete was Gretel Bergmann, probably the finest female high jumper in the world. Only one small problem for the German track-and-field team: she was Jewish. So after the Nazis contrived to have her rejoin the team, apparently a response to American threats to boycott the Games, they did everything in their power to drive her off the team.

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The Muslim Boy At The Yeshiva

09/06/2011 | George Robinson | Special to the Jewish Week | Film
Yoav (Binyomin Shtaynberger) and Daud (Muatasem Mishal) in Chinatown in a scene from “David.”

Any time you have two schoolboys of different ethnicities thrown together in a drama, there is the danger of creating an after-school special, one of those facile, rather fatuous feel-good movies in which everyone comes to love one another, regardless of any social reality and regardless of the outside world. So when someone tells you that “David,” a new indie film from writer-directors Joel Fendelman and Patrick Daly is about a couple of 11-year-olds, one Muslim the other an Orthodox Jew, who become friends due to a misunderstanding, you might expect the worst.

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Refinancing Bernstein’s ‘The Debt’

08/31/2011 | George Robinson | Special To The Jewish Week | Film
Helen Mirren in "The Debt."

The difference between Assaf Bernstein’s 2007 film “The Debt” and the English-language remake that opens on Aug. 31 can be seen in the faces of the films’ respective female leads. In the Israeli original, Gila Almagor looks like a prosperous suburban matron, her face unlined except for an almost imperceptible scar on one cheek. By contrast, Helen Mirren sports an angry-looking L-shaped scar that draws her face taut, emphasizing the lined, almost craggy, and exhausted visage of someone with the weight of Jewish history on her shoulders.

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Documentary Moves Too Fast To Catch Madoff

08/26/2011 | George Robinson | Special to the Jewish Week | Film
Paper chase: Fraud-hunter Harry Markopolos in scene from "Chasing Madoff."

 

 

The line goes straight up at a 45-degree angle. It never makes a downturn, never changes its upward path. For anyone with a background in large-scale investment, it can only mean one thing: fraud.

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