1 / 16

Yiddish Cinema

Yiddish Cinema. Depiction of life in the “Big City”. Maurice Schwartz (1889-1960). Born in Ukraine, died in Israel. American Yiddish actor, scriptwriter, director, and producer. Founder of the Yiddish Art Theatre in New York.

dale-chapman
Download Presentation

Yiddish Cinema

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Yiddish Cinema Depiction of life in the “Big City”

  2. Maurice Schwartz (1889-1960) • Born in Ukraine, died in Israel. • American Yiddish actor, scriptwriter, director, and producer. • Founder of the Yiddish Art Theatre in New York. • Played in countless theatrical productions in Yiddish and English, and in over twenty films, including Uncle Moses. • “The best of all Yiddish actors” (in the USA).

  3. Uncle Moses (1932) • Made in the USA. • First important Yiddish sound film in America. • Based on a novel by a Polish-American Yiddish writer, starring a Polish-American actor. • Polish-American Yiddish background and themes.

  4. Uncle Moses • What meanings does the name of the title character create in the film? • What themes does the film tackle? • How is the conflict of the “old” and the “new” worlds is presented? • What role does the music play?

  5. Yiddish Cinema in Poland • First Yiddish (silent) films produced in 1911. Ex., The Cruel Father (Der vilder Foter, dir. Andrzej Marek). • About 10 films made in 1911-12. • The first sound Yiddish film, For Sins (At Chejt, dir.Aleksander Marten) produced in 1936.

  6. Yiddish Cinema in Poland • Several production companies. • Polish-American cooperation (ex., Joseph Green, director/producer). • Intended for international public (Yiddish speakers regardless of geographic location).

  7. Yiddish Cinema in Poland • Ups and downs in the 1920s-early 1930s (due to political and technological changes). • Input by Polish and German filmmakers. • Documentaries (ex., Sabra, dir. Aleksander Ford, 1932). • “The golden age” from 1936 to 1939.

  8. Yiddish Cinema in Poland Themes: • Conflict of old and new values and/or generations; • Life in a shtetl; • Love; religion; traditional beliefs. Genres: • Musical comedy • Melodrama • Tragedy • Documentary Aesthetic sources: • Theatre • Yiddish literature • Yiddish folklore • Klezmer music • European culture

  9. Mamele (1938) • Musical comedy. • Adaptation of a play by Meyer Schwartz that was a hit on Second Avenue in New York. • Polish-American co-production. • Directed by Joseph Green and Konrad Tom. • Starring Molly Picon.

  10. Molly Picon (1898-1992) • American theatre and film star. • Had talent for singing, dancing, and acrobatics. • In the 1930-s, had a Broadway theatre of her name. • Specialized in roles of tomboys.

  11. Joseph Green(Yoysef Grinberg, 1900-1996) • Polish-born American actor, film director, script-writer, producer. • Studied and worked in Europe until 1925, when he moved to America. • While in Hollywood, conceived the idea of making Yiddish talking films. • Bought Yiddish-film rights in America and brought them to Poland. • “Father of the Golden Age” of Yiddish cinema

  12. Joseph Green’sprinciples of filmmaking • Technical perfection and high quality of production; • High standards of acting; • The subject: Jewish yet universal; • Avoidance of stereotypes; • Purity of Yiddish language; • Elements of folklore and ethnography; • Authenticity of setting; • Humour and music.

  13. Mamele • Made on the brink of World War II. • Shows the “Atlantis” of Polish Jewry before its disappearance. • The setting shifted from New York to Lodz(Poland). Local “flavour.” • Attempts of using modern cinematic techniques (ex., overlapping images).

  14. Mamele • Urban setting; • Modern way of living: gentile clothes, young men without beard, uncovered married women; • Universal subject; • Influence of Hollywood musical comedies.

  15. Mamele • Cinderella story; • Yiddish cultural “flavour.” • The place of women in traditional culture. • Satirical take on idling men. • Strong women.

  16. Mamele • Social problems: strikes, unemployment, gangsters. • Tradition and modernity: prayer replaced with games; a religious holiday vs nightclubs.

More Related