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Recognizing Messiah

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(313) 355-6414

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the ends of the earth as the
passage continues. This
passage cannot refer to Jesus.
Fallacy five: another case of
mistaken identity.
Isaiah, Chapter 53 is an
analogy of the history of the
Jewish people — despised, re-
jected, sorrowful and ac-
quainted with grief. Oppress-
ed and tortured, without
opening his mouth, he is
brought as a lamb to
slaughter. Messiah is not
mentioned in this tale of suf-
fering that may even have
prophesied the Shoah. Fallacy
six is reading meanings into
passages where they don't
exist.
It is not a trivial exercise to
list missionary arguments
and rebuttals. It sharpens
one's own thoughts and con-
victions. Missionaries are
drilled to introduce doubt in

your mind. They argue glibly
using multiple memorized
quotations.

By arguing, you will not
convert them to your side; if
you choose to engage a mis-
sionary in debate, at least do
it in a way that will
strengthen your commitment
to your heritage. Take
everything said with a grain
of salt; take notes of quota-
tions and compare them to
the original Hebrew or
authoratative Jewish transla-
tion. If questions remain, ask
your rabbi. The book You
Take Jesus, I'll Take God by
Samuel Levine (no relation to
this writer) provided the
sources and rebuttals to mis-
sionaries used above, and is
recommended for more detail-
ed information and
strategies.

Two Books Published
On Jews And Film

SOL H. MARSHALL

Special to The Jewish News

T

wo recently released
books show how com-
mercial film producers
and independent heritage-
oriented film-makers present
varying images of Jews to the
world.
The Jew in American
Cinema by Patricia Erens (In-
diana University Press) is a
comprehensive historical sur-
vey of more than 800 films that
portray Jewish characters or
present Jewish themes. The
films range from short pieces to
long features, from the early
days — which Erens dubs "The
Primitive Years" (1903-1919)
— to the recent super-
spectaculars.
The introduction of approx-
imately 30 pages is required
reading. Erens describes the
waves of Jewish immigration
to America, and how the fiction
of later years followed the
stereotypes placed on Jews by
their contemporaries.
Erens notes the categories
and themes of movies —
melodramas, comedies, gangs-
ter stories, ghetto and pogrom
films and others. She follows
character "types" through all
the stages of the movie indus-
try — the villain, the money-
lender, the beautiful Jewess,
the parasite, the wandering
Jew and other more subtle
types. She devotes a good sec-
tion to the Yiddishers — the
Jewish cowboy, the long-
suffering mother, schlemiel,
peddler, neurotic son and even
the Hollywood producer.
Hundreds of films from the
silent era, the early sound

years, and the war and post-
war era (1941-1949) are dis-
cussed. In addition to her
commentary, Erens attempts
to analyze how the films re-
flected the life and attitudes of
the times.
The second book, A Guide to
Films Featured in the Jewish
Film Festival, edited by De-
borah Kaufman and Janis
Plotkin (Jewish Film Festi-
val), is more than a catalogue.
It not only describes more than
100 films on Jewish subjects
that have screened in the
Jewish festival program dur-
ing the first five years, it pro-
vides essays on contemporary
American film, the Holocaust
in cinema and new Israeli film.
For readers who are interested
in presenting their own Jewish
film festival, there is a
checklist of tasks that can be
helpful.

Copyright 1987, JTA, Inc.

mmil LOCAL NEWS h"

Detroiters
Win Posts

The International Federa-
tion of Secular Humanistic
Jews announces several
Detroiters were appointed to
the executive council. They
are: Robert Sandler, Miriam
Jerris, Lynn Master, Sherwin
Wine and Marilyn Rowens.
Next year the International
Federation of Secular
Humanistic Jews will meet in
Brussels beginning Sept. 30.
The theme for the interna-
tional meeting will be "Who
Is a Jew?"