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The Majestic'
Martin Landau stars with Jim Carrey in a film about a blacklisted writer
who loses his memory and ends up with a new life in a small town.
I
NAOMI PFEFFERMAN
Jewish Journal of Greater Los Angeles
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MN OM MI 1=111
IVIIT oodv Allen and I used
to play a little game,"
confides Martin
Landau, who portrays
the owner of an aged movie house in
Frank Darabont's new film, The
Majestic. "I'd say, 'The Elm,' and he'd
say, 'The Midwood.' I'd say, 'The
Kenmore,' and he'd say, 'The Avalon.'"
Landau and Allen, who collaborated
on 1989's Crimes & Misdemeanors,
were referring to the theaters both fre-
quented while growing up eight blocks
apart in Brooklyn.
"They were like little palaces, all roco-
co or art deco," recalls the actor, who was
born in 1928. "You'd walk in off those
hot streets into a nice, air-cooled theater
and you'd spend all day watching Cagney
or Jimmy Stewart. It cost all of 17 cents.
Woody and I both fell in love with the
movies at those old theaters. It was the
only way to fall in love."
Landau says he was drawn to The
Majestic because the film honors those
kinds of movie houses — now mostly
gone — and the motion pictures they
once screened.
Set in 1951, the Capra-esque fable
tells of a blacklisted Hollywood screen-
writer (Jim Carrey) who gets amnesia
and stumbles into a town where the
local theater owner (Landau) mistakes
him for his long-lost son. The two
men are soon inspired to resuscitate the
decrepit theater, called The Majestic, to
its original Egyptian-style splendor.
"Movie houses today just aren't the
same kind of experience," laments the
effusive Landau, who is of the same
generation as the New York actors
Marlon Brando and Paul Newman but
didn't win his first Oscar nomination
until he was in his 50s.
"The modern cineplexes are mun-
dane, dull boxes. But The Majestic
pays tribute to the movie palaces that
made people feel like royalty. It honors
a time when pictures helped
Americans get through grim periods
like the blacklist and the war.
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2001
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Late Bloomer
Landau lived through some of those
grim times. During World War II, his
the movie palaces: "I
want to become an
actor," he told his boss,
quitting on the spot.
He met his best
friend during those
early years at a CBS
audition around 1952.
"I was given a number,
376, and this sandy-
haired, bespectacled
young man was num-
ber 377," Landau
recalls. "I reeked of the
big city; he evoked
middle America. But
our predilections about
the theater turned out
Martin Landau, center; as Harry Trimble, is overcome
with joy-when the man he believes to be his long-lost son to be exactly the same."
The man's name was
returns home, in "The Majestic."
James Dean.
Another major figure in Landau's
Austrian-born father scrambled to rescue
life
was his acting coach, Curt
relatives from the Nazis. In late 1939, he
Conway, a former CBS director rele-
helped smuggle eight ancient Torahs out
gated to teaching after the Communist
of Hitler's Europe and delivered them to
blacklists destroyed his career.
his Orthodox shul in Brooklyn.
"Curt was never a Communist, but
"I remember there was a joyful pro-
he had signed a petition, backed by
cession down the street," says Landau,
leftist groups, to help a black man
who at 17 became a cartoonist for the
falsely accused of raping a white
New York Daily News but at 22 decid-
woman," says Landau, who later stud-
ed he didn't want to spend his career
ied at the Actors Studio and played a
drawing pictures.
homosexual henchman in Hitchcock's
His mind turned to Broadway and
North By Northwest.
to the magic he'd experienced inside
`Not Another Teen Movie'
An irreverent comedy that skewers the conventions
and cliches of a movie genre.
NAOMI PFEFFERMAN
Jewish Journal of Greater Los Angeles
111 ichael Bender and Mia
Kirschner admit there's no
Jewish archetype in Joel
Gallen's Not Another Teen Movie — a
"nasty and frequently hilarious assault
on 20 years' worth of youth pictures,"
according to the New York Times.
"The 'Jewish kid' isn't really a char-
acter that's consistently come up in
teen movies," says Bender, one of the
comedy's writers and co-producers.
Maybe that's why the football team
in the film's fictional John Hughes
High is called "The Wasps," suggests
Kirschner, who plays the school's
"Cruelest Girl" (a spoof of the film,
Cruel Intentions).
During a joint interview, Bender
and Kirschner, both 26, say they
became fast friends on the set but were
opposite Jewish types in high school.
Bender — who belonged to a prep-
py clique called "The Plaid Boys" at
his mostly Italian New Jersey school
— was the "Token Jewish Guy." And
Toronto-bred Kirschner — often
kicked out of class for her defiant
behavior — was the "not so nice
Jewish girl." (She's since played a