Jewish symbolism suffuses the film.
The scenes of the riot, in which
unemployed miners smash a Jewish
store run by Solomon's family, are
reminiscent of the 1938 Kristallnacht
pogrom, when Jewish homes were
attacked throughout Germany and
Austria.
When Solomon goes to meet
Gaenor, he hides his tallis in a stone
wall. On one such occasion, his broth-
er spies him hiding the ritual cloth
and places it under his brother's pil-
low. Later, the tallis shields Solomon
as he fights the harshly beautiful ele-
ments of the Welsh landscape in a bib-
lical-like search for Gaenor.
As Morrison jokes, "Someone said,
This a film about a thousand and one
uses for a tallis." More seriously, he
says. For a Jewish man, it is a very
powerful symbol."
And, he says, it's a film that tells a
story that has a universal appeal on a
personal level today as well.
"I feel that something people are
grappling with is 'how I can be with
someone and not try to change [him
or her],"' he says.
Morrison has faced this challenge in
his own life. His wife is not Jewish —
but he says their relationship was
never infused with the difficulties
faced by his film's heroes.
He and his wife are raising their
children as Jews, and his parents
accepted the marriage with little diffi-
culty,. They were just happy I was
getting married," says Morrison.

e

rte.

odd g 2000
1:30 -•polt

Temp&

dpe4t

ga„e

admirable = though misguided
— idealism and adolescent chutz-
pah of Shakespeare's Romeo.
As if Morrison wants to remind

us how universal the tragedy is, he
simplifies the conflict, resisting the
political and cultural complexities
of this particular historical
moment.
Ultimately, the most original
and fascinating aspect of the film
is its juxtaposition of the isolated
and isolating communities.
Characters in the film speak
English, Welsh and Yiddish, giv-
ing voice to a cultural collage that
is both beautiful and volatile.

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This wonderful program and others are supported bti
The David Arthur Stulberg Memorial Fund and
The Harry & Phyllis Kellman Memorial Fund

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