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Arts & Culture | Film

Israel’s ‘Minority In A Minority’

06/01/2010 | George Robinson | Special To The Jewish Week | Film
The filmmaker’s grandfather, Jacob, in scenes from “The Monayer Family.”

If you don’t think that human identity is evanescent, multilayered, poly-vocal and downright confused, you probably won’t get “The Monayer Family,” a triptych of short videos by Dor Guez currently on display at the Jewish Museum.

Guez is a provocative, gifted artist who works in a variety of disciplines and media, focusing his attention on issues of multiculturalism, ethnicity and personal identity; appropriately, his own identity is as contested and complex as it is possible to imagine. The work, unsurprisingly, is the same.

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Changing Images Muddy Picture Of Zionism, Israel

05/26/2010 | Eric Herschthal | Staff Writer | film
Two images of Israel, two generations: “Exodus” and “Waltz with Bashir.”

 In 1960, the film “Exodus” was nominated for three Academy Awards. Based on Leon Uris’ novel about the founding of Israel, it seems hard to believe that such a film, drenched in Jewish military heroism and suffused with Holocaust imagery and Arab aggression, could have such broad and unambiguous appeal. But it did. It not only won an Oscar, it also starred a Hollywood icon, Paul Newman, as the heroic Jewish fighter, and even made a commendable showing at Cannes.

But almost a half-century later, a very different film about Israel won an Oscar nomination. “Waltz With Bashir,” (2008) directed by the Israeli Ari Folman, put a spotlight on the massacres at the Sabra and Shatilla refugee camps during the first Lebanon War.  

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Love And Theft

05/11/2010 | Ted Merwin | Special To The Jewish Week | Film
Linda Lavin,  left, and Sarah Paulson as mentor and student in “Collected Stories.”

Every piece of writing is, according to the literary critic Harold Bloom, a mixture of homage and betrayal, an attempt by the writer to be freed from the long shadow of the writers of the past. What Bloom famously dubbed the “anxiety of influence” is one of the most salient themes of Donald Margulies’ “Collected Stories,” now receiving a solid revival at the Manhattan Theatre Club starring Linda Lavin and Sarah Paulson.

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Woody Allen’s Grandson, Jerry Seinfeld’s Son

05/11/2010 | George Robinson | Special To The Jewish Week | Film
The parent trap: Ronald Bronstein as the nebbishy hero Lenny Sokol, who has custody of his two sons.

Lenny Sokol’s life is a barely controlled chaos. He has custody of his two sons for two weeks, his work life is insane, he’s juggling girlfriends and, well, Lenny (Ronald Bronstein) is a chaotic kind of a guy. He’s the reduction ad absurdum of the prototypical nebbish hero, version 3.0, the grandson of Woody Allen, the son of Jerry Seinfeld, a charming narcissist writ large.

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Blame It On Rio

05/04/2010 | George Robinson | Special To The Jewish Week | Film
No 007: Jean Dujardin and Louise Monot in scene from “OSS 117 — Lost in Rio.”

Life was so much simpler in 1967. For a brief moment, everyone loved Israel, the plucky little country that fended off attacks from all its much larger, more powerful neighbors. With the U.S. involved in an unpopular war in Vietnam, it was comfortable for progressives to view the Israelis as a model for the Third World, a nation too tough to take crap from the big boys.

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East Germany, In The Rear-View Mirror

05/04/2010 | George Robinson | Special To The Jewish Week | Film
Documentary-maker Amie Siegel appears often on camera in “DDR/DDR,” her study of the former East Germany.

About 90 minutes into Amie Siegel’s clever, witty rumination on the former East Germany, “DDR/DDR,” Siegel and her crew get into a spirited discussion about the best way to translate the German word “Wende,” literally “change,” since it used to refer to the series of upheavals that began with the fall of the Berlin Wall and ended after the reunification of Germany.

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