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9
It takes a determined filmmaker to capture
`The Last Klezmer.'
TERESE LOEB KREUZER SPECIAL TO THE JEWISH NEWS
Y
ale Strom, the 37-year-old
writer, co-producer and di-
rector of The Last Klezmer
strides into a chic little
restaurant on Manhattan's Up-
per West Side, wearing his cher-
ry-colored backpack. This time,
he left his fiddle at home.
It's a long way from here to
Poland and Ukraine, where he
has spent much of the last 10
years, first as a photojournalist,
then as a student of klezmer —
the Jewish folk music that, he
says, originated in Alsace-Lor-
raine during the Middle Ages —
and most recently as a filmmak-
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64
MITSUBISHI Art SOUTHFIELD
29319 TELEGRAPH ROAD, JUST NORTH OF 12 MILE • SOUTHFIEL IZ
810-353-0910
er. He is now at work on his third
film. Like the first two, it's con-
cerned with the Jews and gypsies
of Eastern Europe whose cultures
were decimated by the Holocaust.
Describing himself as "a sort
of wandering minstrel," during
his first trip to Eastern Europe,
Mr. Strom relied on his violin to
pay his way. "I would go to cafes,"
he recalls, "and play for tips, food
and a place to sleep.'
He supported himself during
his graduate student years in
New York City by playing in the
Terese Loeb Kreuzer is a writer
and video producer/director
living in New York.
subways. Now that is no longer
necessary. The Last Klezmer has
put Mr. Strom on the map and "is
definitely making money." Shot
on a minuscule budget with a
crew of two or three people using
a camera only one notch above
home movie equipment, Mr.
Strom's second film won prizes in
major film festivals and has been
seen in theaters around the
world. As anyone who has ever
tried to produce a film can tell
you, this is a remarkable feat. "I
was never one to take no for an
answer," Mr. Strom says, by way
of explanation, adding, "It's not
luck. If you do something
with confidence, the
chances are you will suc-
ceed."
Of course, the sound-
track of The Last Klezmer
includes klezmer music,
but that isn't ultimately
what this film is about. It's
the story of Leopold Ko-
zlowski of Krakow,
Poland, born Poldek
Kleinman in a small town
that, since the 1940s, has
been part of Ukraine. Be-
fore the war, there were
thousands of klezmer mu-
sicians in Central and
Eastern Europe. Now, Mr.
Kozlowski is the only one
of the old-timers left.
"When he passes
away," says Mr. Strom,
"there will be no one who
grew up in the heyday of
Yiddish culture who is
still playing this music."
The puckish, effusive
Mr. Kozlowski was 71
years old when The Last
Klezmer was shot in 1992,
but the film includes a
photograph of him young,
darkly handsome, sitting
at a piano beside which
his brother, Dulko,
stands, holding his violin.
Their father, their uncles and
their grandfather were klezmer
musicians who played their ec-
static, heart-tugging improvisa-
tions at any Jewish communal
occasion, happy or sad. "There
isn't a professor in the world that
can teach one to become a
klezmer," Mr. Kozlowski says in
the film. "A klezmer must be
born."
The music, he says, "came
from the heart, from the blood."
The life of Tzvi and Miriam
Kleinman and their sons in the
modest town of Przemyslany was
abruptly shattered in 1941, only
a year after Dulko took first prize
and Poldek second prize in a ma-