“Bethlehem,” the critically acclaimed 2013 film, has both Israelis and Palestinians on its production team, imbuing it with a sense of nuance. The tense drama focuses on an Israeli Shin Bet agent and his teen Palestinian enforcer, and personalizes the conflict by questioning the notion of family, and trust behind enemy lines.
A talk with Henry Winkler about Jewish perseverance, his new memoir (about fly-fishing?) and life after The Fonz.
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He tried out such stage names as Chester Flame and Peter Avalanche at Yale Drama School, but when he got the chance to star in TV and movies Henry Winkler stuck with the one his German refugee parents gave him.
Ask clinical psychologist Marsha Mirkin, and she’ll tell you that the essential psychology textbook was written more than 3,000 years before the birth of pioneering analyst Sigmund Freud. Freud may have deemed religion “a mass delusion,” but Mirkin contends that the Divine parables of the Torah can provide unrivaled insights into human behavior.
Of the elite jazz musicians working in New York, pianist Bruce Barth is probably the only one who can claim a klezmer pedigree.
Barth, 46, who has emerged as one of his generation’s most compelling pianists and will share the stage Monday at Merkin Hall with the legendary Cedar Walton in a two-piano duet, developed an ear for klezmer in high school in Harrison, N.Y. It was then that his brother introduced him to a clique of New York bluegrass musicians, including mandolinist/clarinetist Andy Statman and banjoist Tony Trischka.
Borders are alluring and charged places. In Orson Welles’ classic film “A Touch of Evil,” a psychological study of life at the border, the place where America and Mexico meet is full of shadows. It’s hard to get a fix on it. The old rules don’t seem to apply at the border, and a new reality is born of the collision of two worlds.