JEWISH MOVIES
,
,
.
s7:41
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New
good
Dr. Burton Brodsky
M.D., P.L.C.
from page 77
good-natured chuckle when he
recounts how one biblical story was
given the green light by production
heads at Paramount.
"When Cecil B. De Mille first sug-
gested making Samson and Delilah in
the late 1940s, studio executives
balked, saying that a Sunday school
story would barely attract enough of
an audience to warrant the expense.
"De Mille asked a studio artist to
draw a picture of a muscular athlete
wrapped around a seductive vixen. He
showed the picture to the execs. They
changed their minds and bankrolled
the picture."
To paraphrase a famous line from
another movie: As it was painted, so it
was filmed.
There is also a chapter devoted to
the tribulations of home life ("License
to Kvell") and a sympathetic examina-
tion of interfaith romance ("Mixed
Doubles").
The most fascinating chapter, how-
ever, has got to be the "The Old
Jewish Neighbor Hoods," Samberg's
take on celluloid gangsters. He touch-
es" the issue with uncompromising
honesty, admitting that crime and
assimilation — as in the Sergio Leone
opus Once Upon a Time in America —
was also part of the Jewish-American
experience.
But, he states, 'There was nothing
glamorous about any of these movie
bad guys. Although the glossy filter of
Hollywood can cast a rather innocu-
ous shadow on the lives of Jewish no-
goodniks, real and fabricated, nobody
in his right mind would ever want to
emulate them. They're not even nice
to their folks."
The book also has the added benefit
of dozens of brief sidebars and
vignettes detailing little known facts
and trivia. We see Shelley Winters
donating her_ Best Supporting Actress
Oscar for The Diary of Anne Frank to
the Anne Frank Museum in
Amsterdam; borrowed Israeli ranks
having to leave the movie set of Cast a
Giant Shadow, starring Kirk Douglas,
in order to fight a battle; Isaac
Bashevis Singer swooning over a photo
of Lena Olin, cast as Masha in
Enemies: A Love Story; and Walter
Matthau saying some very nasty things
to Barbra Streisand on the set of Hello,
Dolly.
The breezy style of the book belies
the obvious scholarship that went into
it. Samberg deserves high marks for
giving belated recognition to over-
looked films like Me and the Colonel,
Lepke and — a personal favorite —
Genghis Cohn.
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