'
■
TilE))LTROttANISR(Artornail
March 27, 1936
and THE LEGAL CHRONICLE
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Wrong
With Our Jewish
Defense Strategy?
What's
(CONCLUDED from EDITORIAL PAGE)
fense areoften mutually con-
tradictory.
The fact that the Jews have
been poor apologists is a vir-
tue as well as a vice. Unified
systenis of propaganda are very
frequently suspect. The crea-
tion of an "information bur-
eau" by the government, for
instance, is not always taken at
its face value as a medium for
disseminating facts. Sophisti-
cated people are wont to sus-
pect that its purpose is to pro-
mote the government in slower
or cover up its mistakes. The
term "organized propaganda"
has a subtle connotation which
does not carry favorably in the
minds of many people.
The very fact that Jews are
without a propaganda machine
is in itself an answer to many
charges levelled against them.
A plot to overthrow the world
cannot be carried on by a ma-
chine which is divided and bro-
ken and through its disunion is
ineffective and impotent. The
charge of an organized conspir-
acy against something or other
is seen to be a hollow farce
once its instruments of propa-
ganda have been closely ex-
,
amined.
A VIRTUE WITH AN
OUTSTANDING WEAKNESS
But this virtue has also been
an outstanding weakness. With-
out a unified propaganda ma-
chine with a carefully planned
policy of defense the Jews have
been unable to adopt an effec-
tive approach against anti-
Semitism. Our lack of a pro-
per 'strategy has been responsi-
ble for a supreme mistake,
which is that our defense has
been purely negative. We have
devoted ourselves to answering
libels to prove that we are not
intent upon controlling the
world, either by a capitalist
conspiracy to rule it or a com-
munist conspiracy to overthrow
it. We have been busy trying
to show that Jews are arsonists,
criminals, or sharp in business
practices. The result has been
that we have created a negative
approach toward the Jew. The
Christian has come to regard
him in the light of his faults
rather than of his virtues.
There has developed a school
of constructive defense of the
Jew among Christians, but it Is
largely impotent. The defense
is nearly always carried on by
religionists and it is based upon
the contention that the Jews are
the people of the Book. It is
mystical rather than practical;
related to eternalities rather
than to realities. The average
Christian is not concerned that
Judaism is the mother of Chris-
tianity, for his judgment of the
Jew Is based upon present-day
concepts. The approach to his
mind must be in terms of such
realities, which Is the Chris-
tian's only criterion.
There Is need for a new kind
of strategy both for Christians
who are anxious to defend Jews
and for Jews who are bent upon
defending themselves. This
need is to create a constructive
approach toward the Jew. What
the present negative approach
has done may be seen from the
fact that the average individ-
ual can name the alleged faults
of the Jew in half a minute.
But ask him to name the vir-
tues of the Jew and he will
have a pretty difficult tinie
enumerating them in half an
hour, if at all.
WHAT ME MUST IMPRESS
UPON CHRISTIANS
I am not saying that we
ought to stop proving libels
wrong. The need to refute
slanders is imperative. But at
the same time we ought to be-
gin telling the world, and have
our Christian friends tell the
world, that we have many assets
which are valuable to it, so that
when a man is asked to enuin-
crate our good points he will
not have to rack his brains to
find out what they are.
We need to get Christians
into the habit of thinking that
the Jews are one of the most
law-abiding elements; that they
are charitable and humane and
concerned with the welfare of
the common man; that they
have a solid sobriety in a world
which drowns its sorrows in al-
cohol; that they practice a
noble ideal of the family and
have a high sense of responsi-
bility toward it; that they are
concerned with the serious and
important in life, toward the
end of making it more livable;
that they are a peace-loving
people who shun war and vio-
lence as a means of settling dis-
putes,
These are a few of the things
The lug Angeles and Hollywood
chapter of the Mailamm held a re-
we need to impress upon Chris-
ception and musicale in honor of
tians. When a Christian knows
its honorary national vice-presi-
of these characteristics and
dent, Bronislaw Huberman, world
weighs our alleged foibles in re-
renowned violinist, in the first
:a:1;z
named city this week.
our vices are not so important
There is an Anglo-Jewish pub-1 or serious as he always believed
Usher who is now girding his
them to be and that our good
loins to invade the New York field.
SCREEN'S NO.1
O. MAN
CONCLUDED FROM EDITORIAL PAGE
who has suffered much, of a sen-
sitive soul edged with steel to bet-
ter understand the shocks of the
world.
By temperament he is a dream-
er, with keen perceptions and ap-
preciations. In ability as an ac-
tor he ranks with Charles Laugh-
ton.
His sense of humor is more mel-
ancholy than boisterous. I once
saw him smile at a cinema bill-
ing,
GEORGE RAFT
supported by
SIR GUY STANDING
In "The Good Earth," Muni
plays 18 different periods, from
youth to extreme old age. The
Chinese contours of his face are
achieved by "facial inlays"—plas-
tic moulds that fit the face ex-
actly. A "standin" wore each
mask for 10 hours to make sure
it would not cause discomfort be-
fore it was tried on Muni.
It required many months of pa-
tient experimenting before the 18
"makeups" were finally agreed
upon.
Paul Muni wits born of Jewish
parents in Austria. They were
strolling players. Before he was
five years old, he had travelled
with them through the principal
countries of Europe. Though he
was not allowed to act when a
child, his father having other
plans for his future, the boy ab-
sorbed everything pertaining to
the stage. His real name is Muni
Weisenfreund., He is 39 years of
age. Ile came with his parents
to America when he was seven
years old. They remained in New
York and enrolled Paul in the
public schools, where he quickly
learned to speak enough English
to act as their interpreter and
teacher. The wanderers took to
the road again, and settled in
Cleveland, where Paul's father be-
came a theatrical producer in a
small way. A rather sad, ideal-
istic man, he managed and acted
in his productions. The future
actor's mother also played various
roles.
Muni first appeared on the stage
when he was in the second year
of high school. One of the ac-
tors had departed suddenly. His
parents had no money to hire an-
other. Paul took his place.
The play was one of the strang-
est that an Austrian Jew, but
seven years in America, could pos-
sibly have produced. It has the
cheerful title of "Two Corpses
at Breakfast," and concerned a
lodge in which a starving husband
and wife conspired to collect the
benefits due to each.
Paul was the president of the
lodge. Ile wore long pants, a
beard and a high silk hat. Walking
on the stage, he swung a cane
nonchalantly. To Paul's father
all was sacred in the world of
make-believe. Ile saw no humor
in a 14-year-old boy in such a
role.
Muni's mother was horrified
when he refused to take off the
long pants after the play. "Who
would consider the president of
a lodge, or an actor, in knee
pants?" he asked her.
Ills father had mapped another
career for hint; he was to be the
world's greatest violinist. The
father's income from all his thea-
trical adventuring was never more
than $40 a week. Out of that
amount he spent $6 on violin les-
sons for Paul. "Some day, when
you become a great player, I shall
buy you a Stradivari," he would
say, while Paul played discordant
music,"Wonderful! Wonderful!"
The fond father told the boy
all he knew of Liszt, Ole Bull and
other musicians. For to him,
caught up in the distracting prob-
lems of a workaday world, the
music from heaven came to earth
through the violin.
As poverty had always hounded
the gentle parent, it was to deal
him a last long blow.
His son had no especially strong
desire for the stage until he had
impersonated the lodge president.
From then on, it.was the all-ab-
sorbing interest of his life. As the
months passed, he no longer cared
for the violin. Finally he told
his father. The parent listened
without saying a word, while, boy-
like, Paul did not realize he had
stricken hint to the heart. With-
out a change of expression, his
father took the violin and broke
it with his hands.
How vividly the son remembers.
"The years may have given me
much or little; but never the pow-
er to obliterate that scene. I can-
not forget my father's eyes. We
did not discuss the violin again."
For other reasons, his soother
did not approve of his ambition
to become an actor. She would
often say to his father, "You
know the boy cannot act." His
mothers antagonism toward his
career became so acute that they
hardly spoke to each other for
several years.
At last the boy said, "Mother
—we must make a truce—for his
sake. Let's not discuss my work
again—until you can approve of
it."
His mother agreed.
This pact was never broken.
Though his father, still remem-
bering, made no comment on
Paul's striving, he was kind and
helpful.
Besides being an ambryo actor,
Paul became musician, stage car-
penter and prompter in his fa-
ther's company. As there were!
few juvenile roles, Paul was soon'
given "old men's parts."
Unknowing, he was on the road
that led to fame.
Ile spent many hours a day in
the theater, "making up" for diffi-
cult roles. In time his father
smiled approval. Later, a brother
studied the violin. The heart of
Paul's father softened.
"My father died from over-
work and worry while I was still
a young fellow. "
The family disbknded.
For the next 10 years Paul
wandered about America, playing
points by far overshadow our
so-called bad ones. Knowing
these things he is likely to look
at the Jew in a new light.
wherever opportunity offered. For
several months, "between shows,"
he was a juggler with a burlesque
show. In all the shifting scenes
of life, I know of none more
pathetic.
Once, in New York, he met the
world's greatest juggler, who is
now his neighbor.
"My boy," he said, "I'm afraid
you'll never make a juggler."
"Why?" asked Muni.
"Because," answered W. C.
Fields, "your eyes are too sad."
Ile had then, as now, a diffi-
dence which verged on shyness.
By an odd twist, he had chosen a
profession in which this quality
was out of Mace. With a deep
yearning for something fine in
life, he had absorbed the Yiddish
folk lore, the hopes, dreams and
frustrations of his people. "No-
where in America was I ever made
conscious that I was a Jew."
With a reverent pride in his
heritage, and long years of train-
ing, he became associated with
Maurice Schwartz at the Yiddish
Art Theater in New York. As
usual, he played many old men's
parts.
His work ,helped spread the
fame of the little theater over
New York.
More than a year passed before
a greater chance came. Sam Har-
ris wanted an actor to play the
part of an old man in "We Amer-
icans." Ile sent for Muni. When
Paul appeared, Mr. Harris walked
away in disgust, saying, "Why he's
just a kid."
After much insistence, Harris
gave him the role.
Later, when George Abbott was
about to produce "Four Walls,"
he discussed it with Sant Harris,
When another man in the office
suggested that Muni be used in
the play, Harris said, "Why Paul
Muni only plays old men's parts."
Becoming sterotyped in the
minds of producers is also a prob-
lem in the theater. Mr. Harris
was wrong,. After successful runs
in "We Americans" and "Four
Walls," Muni really became fam-
ous in the role of an attorney of
his own age in "Counselor at
Law."
Then the portals of Hollywood
opened. lie reached the cinema
city after much deliberation.
His first film was "Scarface,"
depicting a shoddily passing gang-
ster phase in the history of Amer-
ica. Muni gave the role of the
gangster a dynamic fervor. While
the picture was highly successful
commercially, it added little to his
stature as an artist.
His struggle in Hollywood has
since been to obtain screen ma-
terial that he considers worthy.
He was seen in many mediocre
films until cast as the lead in "The
Story of Louis Pasteur." To pre-
pare himself for the role. he stud-
ied every phase 'of the great
Frenchman's life for months. An
even larger opportunity has been
given him by Irving Thalberg in
The Good Earth."
His mother came to hint after
the preview of a successful pic-
ture. Holding out the now wrink-
led hand that had soothed him as
a child, she said, "1 ant proud of
you, 8011 " —the one-time actress
on the road of Europe controlled
herself. "There is only one
thing—"
ieh' was it, mother?"
tr
wasn't here."
"Are you sure, mother? Ile
guided me all through the film."
STEINBERG SPEAKS
AT SHAAREY ZEDEK
SACHAR TO SPEAK
STOP JEW-BAITING
HERE ON TUESDAY
SHAW ASKS HITLER I
Mork.
Before many months had passed
the University of Illinois Hillel
Foundation had become so pheno-
menally successful that the B'nai
Writh asked Dr. Sachar if he
would assume the national stew-
ardship of the movement. Ile ac-
cepted the challenge and the pres-
ent high esteem in which the
foundations are held throughout
the country is due in no small
measure to the enthusiasm and
ability of their leader.
Dr. Sachar is brought to De-
troit by the Men's Club of Temple
Beth El. Admission to his address
which commmences at 8:30 p.
Tuesday in the Chapel of Temple
Beth El, is upon presentation of
membership cards in the Men's
Club. Members may bring their
wives on their cards. Non-members
other than wives of members, will
be charged 35 cents.
FLOOD SUFFERERS
NEED YOUR IIELP:
(CON( LADED FROM PAGE ONE)
(CONCLUDED FROM PAGE 1)
as a public speaker had surpassed
his position as teacher.
Dr, Sacher was an instructor in
history at the University of Illi-
nois when the late Rabbi Benjamin
F'rankel founded the first Hillel
Foundation on that campus. The
pedagogue became intensely inter-
ested in the foundation idea, and
when Rabbi Frankel died, Sachar
was asked to carry on with the
King David. He cannot get over
the fact that the lost tribes of
Israel expose us all to the suspi-
cion (sometime, as in Abyssinia,
to the boast) that we are those
lost tribes, or at least that we
must have absorbed them. I there-
fore urge upon him that his anti-
Sentitism and national exclusive-
ness must be pathological; a craze,
a complex, a bee in his bonnet, a
hole in his armor, a hitch in his
statesmanship, one of those lesions
which sometimes prove fatal. As
it has no logical connection with!
Fascism or National Socialism and
has no effect on them except to
bring them into disrepute, I doubts
whether it can survive its momen-
tary usefulness as an excuse for,
plundering raids and coups d'etats /
against incovenient liberals or
Marxists."
' Enjoy
We are conducting a drive for castoff clothing, shoes
and other wearing apparel to be sent to victims of the
flood areas. Please mail this ad with your name and ad.
dress in the space below to Jacob Schreiber, Colonial
Theater, Detroit, Michigan, and truck will call for your
donation.
NAME
ADDRESS
Jacob Schreiber Theaters
OPERATING
Colonial
Garden
New Blackstone
Forest
I
DOUBLE-MELLOW Old
Gift to Hillel Foundation's
Milford Stern Fund
Gold Cigarettes
after the show
THE TRADITIONAL MATZO FOR
PASSOVER. KNOWN THE WORLD
OVER FOR KASHRUTH and QUALITY
The Milford Stern Prize Fund
of the Billet Foundation of the •
University of Michigan received
a $35 contribution from Mrs. Mol-
lie Stern of Detroit. The fund has
now reached $100.
Harps Marx is back from several
weeks on the desert with a face
as red as his famous wig.
Majestic
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(CONCLUDED' FROM PAGE ONE)
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the address by Rabbi Steinberg:
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I am particularly anxious
that Rabbi Milton Steinberg,
who will deliver the final lec•
tare in the Shaarey Zedek
Men's Club Forum Series,
should have • large audience.
I have bad the pleasure of
meeting Rabbi Steinberg at re•
gional and national conventions
of the Zionist Organization and
of the American Jewish Con.
gr.s and have heard him speak
on several occasions. I know
that when he addresses him•
self on the subject "Factors of
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lege of hearing a scholarly sub-
ject popularly presented. Rabbi
Steinberg is • vigorous and
forceful a p e •k e r, possessing
rare clarity of thought and
charm and directness of expres-
sion, which flows naturally from
his well organized and keenly
.analytical mind.
Those who have read Rabbi
Steinberg's "The Making of the
Modern Jew" or any of his Cr.
titles which appear in the Re.
constructionist, of whose edi•
tonal board he is ■ member,
will want to hear and meet this
young man who has already
•
earned an enviable position in
the American rabbinate.
Although he is only 32 years
old, Rabbi Steinberg has already
acquired a reputation for out-
standing scholarship. A frequent
contributor to the Journal of Re-
ligion, the Modern Thinker, and
the Atlantic Monthly, he has espe-
cially enriched the field of Jewish
historical scholarship with his
book "The Making of the Modern
Jew."
Born in Rochester, N. Y., in
1903, Rabbi Steinberg was grad-
uated froM the College of the City
of New York in 1924 with the
highest honors. receiving a Sum-
ma Cum Laude. Ile was instruc-
tor in Jewish history and religion
at the Teachers' institute of the
Jewish Theological Seminary of
America from 1926 to 1928.
Ile received his rabbinical de-
gree In Columbia University in
the same year. Ile served as rabbi
in the Temple Bethel Zedeck in
Indianapolis from 1928 to 1933,
and is at present rabbi of the
Park Avenue Synagogue in New
York City.
NAZI NEWSPAPER
IN JERUSALcM
JERUSALEM IWNS — Palcor
Agency) — German Christians in
Palestine have started publication
here of a daily newspaper which
will represent the Nazi point of
view.
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