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around the time she first began to
read. She would spread flat the greasy
newspaper that her fish and chips were
wrapped in, and read the shocking
exposes.
Those early experiences inform the
non-Jewish Potter's "psychological pro-
file of being Jewish," namely "a caustic
sense of humor combined with a pro-
found awareness of loss, along with
striving for excellence and surviving
through achievement, through your
own endeavors."
Potter shares those traits, which
gives her a special proclivity for
Judaism.
"I grew up as an outsider looking
in," she explains, "and I became part
of a community of outsiders, which
artists often do and which is also an
aspect of Jewish identity."
In addition, she's made more than
30 trips to Eastern Europe, where she
discovered "a profound feeling of
affinity." Along with the hundreds of
books about Judaism she's read in
recent years, Potter also devours any-
thing she can find about Yiddish.
So where does the tango fit into all
of this? For one thing, Potter detects a
connecting sensibility — "a haunting
mixed with zest" —that links klezmer
and Argentinean music. Interestingly,
the top violin and cello players in
Argentine tango bands are Jewish,
Potter reports.
Meanwhile, Potter discerns an
exalted element in the extraordinary
harmony and trust that is essential
between top-flight tango partners. "I
found that Buber's I and Thou
unlocked the spiritual meanings of the
tango," Potter reveals. "In the meeting
of one soul and another, divine princi-

ple comes in."
However, the strong-willed Brit
doesn't intend to convert, or even to
adopt Jewish rituals.
"My family background was about
finding your own truth, not commu-
nal faith," she says. "But I think it
would be quite wrong for me to claim
a Jewish upbringing and identity that
I didn't have."
Nonetheless, Potter cites a long list

Sally Potter plays Sally and Pablo Veron
plays Pablo in "The Tango Lesson."

of Jews as her important influences.
Marx, Freud,Einstein and [filmmaker
Sergei] Eisenstein are understandable
choices, but the Marx Brothers?
"They uncovered profound truths
and exposed hypocrisy through humor
and anarchy," Potter says with a hint
of a smile. 0

Critics' Corner

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from page 114

"One of those magical and com-
pletely unexpected experiences that
renews your faith in movies. There's
a lot more going on here than just
the tango. The movie is also about
the battle for power between a man
and a woman, and the difficulty of
getting a good film made ... the
music is fabulous, too. The Tango
Lesson is astonishing in how enter-
taining it manages to be, while at
the same time being both provoca-
tive and serious. This is a wonder-
ful film."

— Roger Ebert, "Siskel & Ebert"

"When she makes movies, Sally
Potter is in charge. But when the
woman dances, she's got to follow.
Describing the erotic tensions
between leading and following,
working and loving is what Potter
is after in this personal, womanly,
very lovely film — a vulnerably,
daringly chutzpah-filled project in
which Potter, who trained to be a
professional dancer, stars as angular,
reserved, middle-aged filmmaker
Sally Potter."

— Lisa Schwarzbaum,
Entertainment Weekly