Pat Johnson and Cynthia Ramsay

Jewish film fest coming soon

A 1923 studio portrait of the In zikh (Introspectivist) poetry group. Celia Dropkin is surrounded by (clockwise from bottom left): Jacob Stodolsky, Aaron Glanz-Leyeles, B. Alquit, Mikhl Likht, N.B. Minkoff and Jacob Glatstein. (photo from Yiddishkayt)

The Vancouver Jewish Film Festival is welcoming audiences back to the theatre this year. Screenings take place at Fifth Avenue Cinemas March 9-16 and the Rothstein Theatre March 17-19, with some films streaming online March 19-26. Here is but a sampling of the many festival offerings. For the full lineup and tickets, visit vjff.org.

Poetry that burns

As much as the world has progressed in the last century, Celia Dropkin’s unabashedly sexual, emotionally raw, intense, even violent, poems would cause a stir today. Most of her poems are short but powerful, saying things that still would not be said in polite company. A new film, a work-in-progress, offers insight into Dropkin’s life and the circumstances that fueled her creativity, love, anger, imagination.

Burning Off The Page: The Life and Art of Celia Dropkin, an Erotic Yiddish Poet will make its public debut at the Vancouver Jewish Film Festival. Scheduled to be at the screening are local film director and co-producer Eli Gorn and author Faith Jones, who is featured in the film, which includes comments from several writers/scholars and musicians, as well as from some of Dropkin’s relatives. Bracha (Bee) Feldman is the writer and co-producer of the documentary.

Dropkin was born in Belarus in 1887. Her father died when she was little, leaving her mom, a young woman, with two small kids to raise, “mostly resolved to become No One’s wife.… So my mother’s concealed, hot ache / rushed, as from an underground spring / freely in me. And now her holy / latent lust, spurts frankly from me,” writes Dropkin in her poem “My Mother.”

Unconventional views of motherhood were among the many unique aspects of Dropkin’s writings – she had six children herself, one dying in infancy. She was also greatly influenced by a dead-end love affair with Hebrew writer Uri Nissan Gnessin, who she met in her late teens. In 1909, she ended up marrying Samuel (Shmaye) Dropkin, who, because of his political activities, had to flee Russia to the United States a year later; she and their first son joined him in New York in 1912.

In New York, Dropkin was part of the burgeoning Yiddish cultural scene in the 1920s and ’30s. Despite the acclaim she received for her avant-garde work, she never garnered the respect her male counterparts did, and was criticized for depicting women as sexual beings. She struggled with depression, and wrote about it and the dark sides of love. Dropkin died in 1956, having spent the last years of her life painting – a talent for which she also had.

Burning Off the Page is a captivating mix of Dropkin’s poetry, talking heads, music, illustrations, archival photos and videos. (CR)

Life in the “new world”

In iMordecai, Fela (Carol Kane) and Judd Hirsch (Mordecai) are an adorable old couple living the retiree life in south Florida. Their son, Marvin, may or may not be a complete schlemiel (as Mordecai puts it) but each member of the family is dealing with their own stuff.

In a charming opening, Mordecai’s birth in a Polish shtetl is recounted and his memories of the past – including the chasm created in his family by the invasion of Poland and the Holocaust – are cast in striking animation. The family’s real life is also a bit cartoonish – as are the characterizations. Kane, who in this film and elsewhere seems incapable of not being hilarious, is a sweet old bubbe always with a side-eye for any of the other women in town who might be trying to steal her man – after 50 years of apparent devotion. Mordecai is struggling to remember the past while adapting to new technologies – thus the ironic title – and in the process makes friends with a young woman, Nina (played by Azia Dinea Hale), whose own family has its very specific issues.

Although the subjects are sometimes bleak, the film is a breezy dramedy. When Marvin (Sean Astin) explains to his father that Fela is experiencing dementia, the response is subdued brilliance.

“It means that her mind isn’t working like it used to,” says Marvin.

“So, whose is?” the father replies.

There are themes of split personalities, of apples falling not far from trees, and of intriguing coincidences – including running into an old neighbour from Canarsie in the “new world” of Florida. This forces Mordecai to kill off the imaginary brother he invented (it makes sense in the film) for comedic gold.

iMordecai isn’t going to win best picture, but it is a fun and sometimes poignant confection that veers from cheezy to charming to slapstick. When it gets serious, it gets a bit shlocky but damned if the final scene doesn’t get you in the throat. (PJ)

Maintaining a legacy

The stress and anxiety are palpable as Greg Laemmle is forced to consider selling his business, which has been in the family more than 80 years and which is an L.A. institution. But director/producer Raphael Sbarge didn’t start out to make a documentary of this crucial moment in 2019 – and what came after. He was simply interested in the history of the Laemmle family, which goes back to Hollywood’s beginnings.

“Though we had no idea where this film was headed, Only In Theatres took on a life of its own through changing markets and slipping sales,” writes Sbarge on the film’s website. “Then, the pandemic hit and the Laemmle story became the microcosm of the macrocosm – theatres were forced to ask big questions about resilience and viability. The entire Laemmle Theatre chain closed for more than 16 months, and many never reopened. We were able to witness the Laemmles’ extraordinary challenges and triumphs during what was the most tumultuous and emotional 24-month period in the theatre’s history.”

Laemmle Theatres was established in 1938 by brothers Kurt and Max Laemmle, who were nephews of Carl Laemmle, founder of Universal Pictures. The next generations to run the theatres were Max’s son, Robert, and Robert’s son, Greg, who has three sons. The cinemas were apparently groundbreaking in Los Angeles for screening independent and foreign films, and Only In Theatres sets Laemmle’s in the context of the importance of film in general, and arthouse cinemas specifically. He interviews many filmmakers, who talk about the movies that inspired them and the value of seeing a movie in a theatre, of having that collective experience.

Only In Theatres begins with how Greg and his wife Tish met, and gets into the family’s history. Among the interviewees is Greg’s (at the time) 103-year-old great-aunt Alyse, who was married to Kurt and was there when the legacy began.

In July 2019, after a bad year, Greg Laemmle must decide whether to sell that legacy. It is a gut-wrenching choice on many levels and, after months of agonizing over it, considering various purchase offers, he decides he can’t let go. Less than three months later, COVID hits.

Only In Theatres is both a love letter to arthouse cinemas, and an insight into the burden of legacy and how all the accolades in the world don’t pay the bills. If you truly want a business you love to succeed, then show ’em the money. That’s the support that ultimately matters. (CR)

Tradition vs. modernity

Against the magnificent backdrop of the Italian countryside, a family of French Orthodox Jews arrives on an annual two-week sojourn to inspect citrons to be packaged and distributed as etrogs for Sukkot.

Where Life Begins picks up the story of two families – the Italian Catholic farmers and the French Jews – who go back a long way. This year, though, Esther (played by Lou de Laâge), the 26-year-old and still unmarried (!) daughter of the French Zelnik family, is engaged in a profound internal struggle with her faith. She is bridling against the constraints of her religious obligations. At the same time, Elio (Riccardo Scamarcio), one of the sons of the original farm family and now in charge of orchard operations, is questioning the obligations to the land that have befallen him.

photo - Lou de Laâge (Esther) and Riccardo Scamarcio (Elio) in Where Life Begins — Lou de Laâge (Esther) and Riccardo Scamarcio (Elio) in Where Life Begins. *(photo from Menemsha Films)*

The French/Italian, Catholic/Jewish dichotomies are gently juxtaposed but the more powerful contradictions and stressors have to do with separation from family – literal in Elio’s case, figurative but no less wrenching in Esther’s. More immediately, both are confronting their lives in terms of the footprints of the past and the futures they envision for themselves. Each aches for a different path but to embark on it would require a massive break with expectations and everything they have known.

This annual pilgrimage is a tradition made extra festive by the singing and dancing of Georgian migrant farm workers. The joyfulness of the foreigners from the east may not prove that happiness is something one has to travel to find, but it suggests that uprooting from familiar surroundings need not be all grief and loneliness either.

The narrative of Where Life Begins is not an original storyline. Tradition and modernity in conflict; family obligations versus self-actualization; the possibility of forbidden love: these are among the oldest themes in literature and film. Handling these topics with originality and artfulness is what makes or breaks a film like this. This movie does it with nuance and absent simplistic tropes. The southern Italian landscape makes the whole thing easy on the eyes. (PJ)

Film festival underway

Alessandro Gassmann plays a Jewish surgeon whose idyllic kayaking trip – and life – is upended when he hears a car accident on the adjacent roadway. (photo from comingsoon.it)

The Vancouver Jewish Film Festival is finally here! Available for streaming until March 14 is a host of movies – thrillers, documentaries, dramas and comedies. We watched all of the above this past week and here’s what we thought about the handful of movies we saw.

Moral entanglement

In the Italian-set film Thou Shalt Not Kill, a Jewish surgeon’s idyllic kayaking on an Italian river is abruptly and inextricably interrupted when he hears a vehicle accident on the adjacent roadway. Coming ashore and scurrying up the embankment, Simone (Alessandro Gassmann) discovers a gravely injured man behind the wheel of a vehicle that has been involved in a hit-and-run. When the doctor, who we are to discover is the son of a Holocaust survivor, sees the swastika tattooed on the man’s chest, he confronts a fate-determining choice.

Driven by guilt or some other impetus, Simone begins a quest that entangles him into the lives of the crash victim’s family. At the same time as he is dealing with the estate of his own problematic father, the surgeon is confronted with the impacts of a different sort of intergenerational trauma.

Simone devises to hire the dead man’s daughter, Marica (Sara Serraiocco), as a cleaner and their awkward relationship evolves. Simone is drawn into their not-insignificant family dramas and he takes some steps to make amends for his lack of action at the scene of their father’s death.

Simone faces a sort of mirror image of his original moral choice when Marica’s brother Marcello is seriously wounded and, again, a despicable tattoo confronts the attending doctor. Is it his relationship with Marica that drives Simone to behave differently in this instance? Or is it a reconsidering of his earlier actions (or inactions) with their father and a chance to in some way right a wrong that leads Simone to save Marcello’s life?

Writers Davide Lisino and Mauro Mancini (the latter of whom also directed) resist some of the stereotypes common in depictions of hate-filled characters and instead allow a portrayal of even those with the most detestable ideas as ultimately human. The acting is universally good to excellent and the conclusion avoids simplistic tying up of loose ends. The complexities of every human life – including those we tend to see as uniformly malevolent – are represented, as are deeply alarming images of neo-Nazism in contemporary Italy.

– PJ

Freedom threatened

Kosher Beach takes viewers into a world about which most of us know little – the lives of a group of women who live in the ultra-Orthodox city of Bnei Brak. Specifically, the documentary focuses on Sheraton Beach in Tel Aviv, or the Separate Beach, so named because it used to front the now-demolished Sheraton Hotel and is open to women and men on different days, so that they are kept separate in their enjoyment of the recreation area.

This separation is what makes it possible for the Orthodox women to go there and they rent a bus to get there from Bnei Brak, about a half-hour drive away. Most of the women swim and relax almost fully garbed, but some younger women take the opportunity to shed their layers of clothing and, some would say, their modesty – but, still, only among women (and the few male lifeguards). We learn some of the reasons the women like going there. Among other things, the beach offers a respite from their families and their troubles, to which we also are made privy.

The safe haven is threatened, however, as there are rabbis in their community who believe that the road to the beach is full of temptation. And, even though the women bus there, the beach is adjacent to – and offers a view of – the Hilton section of the waterfront, the main beach for the gay community, which is problematic for the rabbis. It is interesting to hear the women’s differing opinions on the issue, and their reactions when this freedom of theirs – to go to the beach with one another – is put at risk.

– CR

Inconceivable

A slice-of-life dramedy that addresses the many-faceted hurdles facing a couple struggling to conceive a child, The Art of Waiting brings laughs and cringes.

Liran (Roy Assaf) and Tali (Nelly Tagar) are a couple in their mid-30s who face the reality that medical intervention will be required if they want to become pregnant.

Liran’s parents live in Sderot, the Israeli border town abutting the Gaza Strip that is subject to routine missile attacks from Hamas. A Shabbat in Sderot sends the family to the safe room, but the real bombshells are saved for the dinner table. Liran and Tali tell the family they are trying for a child, not letting everyone in on the challenges that entails. Unexpectedly, Liran’s brother and his same-sex partner make a similar announcement. (“Who’s the father?” blurts out the grandmother.)

In addition to the vagaries of kooky family members, like the fanatically vegan mother-in-law on an all-peel diet, the couple face the chaos of seemingly endless medical appointments and procedures crammed in among the obligations of two busy career professionals. The audience – and the doctor – wonder whether the couple is ready for kids when they only begrudgingly show up for the appointments necessary to hasten parenthood.

Predictably, lovemaking veers into something analogous to animal husbandry, with emphasis on the destination rather than the journey. Sex isn’t the only rote behaviour in the process. The doctor has been through it all many times and has a trademarked patter that amusingly repeats throughout the film.

It is an enchanting and often hilarious look at the difficulties couples face in such a circumstance and illustrates the toll the stresses take on a marriage. Each character is well sketched out and adds a unique and quirky contribution to the whole. The final scene is charming, if predictable.

– PJ

History through art

In The Samuel Project, Eli makes his grandfather, Samuel, the subject of his animated short – a project for school – when he finds out that Samuel is a Holocaust survivor. It is a tale of reconciliation, in part, as Samuel’s son Robert is both a neglectful son, as well as a neglectful father, and he must learn the value of family. (Eli’s mother left when he was very young and Samuel is a widow.) It is also a story about following your strengths and believing in yourself, as Eli’s desire to become an artist is met with derision by his father and grandfather.

The acting by the two leads – Ryan Ochoa as Eli and Hal Linden as Samuel – is a pleasure to watch and there are tender moments between the butcher, an Armenian named Vartan (Ken Davitian), and Samuel, who owns a dry-cleaner. The two men have a running chess game and Vartan brings Samuel some prize meat whenever he picks up his newly cleaned aprons.

While the movie starts strong, The Samuel Project ends with the feeling of an afterschool special. Samuel’s easy telling of his Holocaust experience lacks believability, as does the one-dimensional and undeveloped character of Robert (Michael B. Silver). The character of Eli’s schoolmate and project partner, Vartan’s son Kasim (Mateo Arias), is also lacking in development, but does provide some amusing moments. Eli’s artwork and final project are wonderful.

– CR

Love against the odds

still - Moran Rosenblatt (Shira) and Luise Wolfram (Maria) co-star in Kiss Me Kosher — Moran Rosenblatt (Shira) and Luise Wolfram (Maria) co-star in Kiss Me Kosher. *(photo from totem-films.com)*

The romantic comedy Kiss Me Kosher (aka Kiss Me Before It Blows Up) is the perfect example of why one should be skeptical of reviews. Read them, but then see what you want to see, regardless, because it would have been a shame to have missed out on this thoroughly enjoyable rom-com, which somehow had a rating of 4.9 out of 10 on imdb.com. At press time, it had risen to 5.1, but still not great, and there weren’t any easily findable articles on it in English. (It’s a German film that takes place in Israel, so there may be some reviews in German or Hebrew. For that matter, there may also be some in Arabic, as that language also makes an appearance.)

Kiss Me Kosher encompasses two love stories and a host of complex politics that are lightly touched upon; raising ideas rather than dwelling on them, leaving viewers to decide for themselves, or to question their reactions to various scenes later. The main romance is between Maria (Luise Wolfram), a German non-Jew, and Shira (Moran Rosenblatt), an Israeli granddaughter of a Holocaust survivor. For Shira and her family, there is some discomfort that Maria doesn’t know what her grandparents did during the war. But, for Shira, it is not a deal breaker, and she accepts Maria’s marriage proposal, despite it being only three months into their relationship. For Shira’s survivor grandmother, Berta (Rivka Michaeli), however, it is simply not acceptable for Shira to marry a German and Berta’s harsh and alienating reaction is as understandable as it is hard to watch.

But Berta herself is also in a difficult and publicly unacceptable situation – she’s in love with a Palestinian man, a fellow widower. But Berta knows how most people would react to the relationship. And one of those people is Shira’s dad, an American who made their home in one of the settlements not only because it was more affordable, but because of his politics.

It’s hard enough for all concerned, as Shira and Maria work through misunderstandings, jealousies and Shira’s family dynamics, including her sister, who’s keen to plan Shira’s big wedding that Shira doesn’t want, and brother, who’s filming everything for a school project. So things come to a boil when Maria’s parents fly in from Germany to meet Shira and her family. Revelations, new understandings and some silliness follow. It’s a well-acted, fun movie that makes you think. It deserves a relatively high rating, 7.5 or even an 8 out of 10, which hopefully it’ll receive as more people see it.

– CR

For tickets to the film festival, visit vjff.org.

Wide range of films offered

Yehuda Barkan and Nitza Shaul co-star in the charming Love in Suspenders. (photo from homemcr.org/film/love-in-suspenders)

The Vancouver Jewish Film Festival is set to go online March 4, and all the many offerings will be available until March 14. There are plenty of gems for viewers of varying tastes and ages, including a few Israeli films that seem to be nostalgic paeans to American comedies or kids’ movies of the 1960s and 1970s. But we start with romance.

The film Love in Suspenders opens with a wild car ride through Tel Aviv, as we are introduced to main character Tammy (Nitza Shaul) who drives like … well, an Israeli. When she backs into pedestrian Benno (Yehuda Barkan), this adorable slice-of-life gets rolling.

Her son Michael, a lawyer, warns that one more infraction will lead to the loss of her driver’s licence. Making nice with her victim (while continuing to argue it was his own carelessness that led to the mishap), Tammy begins what evolves into an innocent and unintentional courtship with Benno.

The luxurious seniors facility where Tammy lives is a hotbed of sexual tension – with lectures on the wonders of Viagra, a supporting character in the film that really should have received its own credit.

Tammy venerates her late husband Yoni in ways that probably exceed what would be considered normal grieving. Hanging on to her glorious past – Tammy and Yoni were a musical duo that toured Israel and abroad – versus facing an exciting but unnerving new romance is the conflict that drives her character.

Benno’s character is driven by all sorts of unnerving situations. Benno’s got his own problems with the next generation, but both he and Tammy handle their affairs like adults, despite being treated like children by their kids.

Michael’s horror at both his mother’s rekindled sex life and the uncertain provenance of the unkempt and possibly homeless Benno threatens to undermine the trajectory of their affection.

Kids aren’t the only interfering forces. The extravagant dining hall and luxurious hallways of the seniors home are brimming with prying eyes and wagging tongues. The roosters in the facility are put out that Tammy has scored a love interest from the outside, despite all their strutting and preening. The women in the building always seem to be nearby when Tammy’s male caller is coming or going from her apartment.

The title Love in Suspenders is a play on the phrase “Tuesdays in suspenders,” a program in which Israeli seniors get weekly discounts at venues like the cinema. The movie is an absolutely charming vignette of finding love at a later age and dealing with the impacts of a fresh future on a cherished past. It is a respectful treatment of older characters and their romantic explorations, which are topics too often treated shabbily by Hollywood and other depictions.

– PJ

***

Not one of us will be able to avoid death. Yet, despite its inevitability, few of us prepare for dying and most of us put the thought of it to the back of our minds, even as we mourn those who have died.

The hour-long documentary Dying Doesn’t Feel Like What I’m Doing is almost a must-see for anyone struggling with the reality of mortality. It is a caring portrait of Rachel Cowan’s 18-month journey from a cancer diagnosis (a brain tumour) to her passing. Along the way, we learn about how remarkable this human’s life was and how her impacts continue. However, while Cowan was successful by almost any measure, it is not only her accomplishments that are noteworthy, but her struggles and her finding of strength in love and gratitude at her most vulnerable, when she had every right to be bitter and selfish.

Cowan was a civil and women’s rights activist of some acclaim. She was married to Paul Cowan, a journalist for the The Village Voice, and theirs was a partnership that extended into work at times; she took incredible photographs for his stories, capturing on film the best and worst of humanity in a tumultuous era. The couple lived and fought for their beliefs and really did make the world a better place.

Paul died from leukemia in 1988, at 48 years old. Rachel had converted to Judaism earlier in their relationship, after his parents died in a horrific apartment fire. The tragedy spurred Paul to explore his Jewish roots and her to search for God and meaning, which led her to Judaism. She was studying to become a rabbi during the period that Paul was ill and she was ordained soon after his death. At that point, still deep in grief, she thought, “Now, what?” How possibly could she counsel others when she herself was so ungrounded. She decided, “Choose life.”

She not only chose life for herself, but for others. While working at the Nathan Cummings Foundation, she established the Jewish Healing Centre, after seeing how little Jewish community support Paul had had in palliative care. She also established other initiatives and wrote a book on wise aging. As the documentary begins, we see Rachel leading a meditation group, continuing her life’s work. The film’s title comes from a comment Rachel makes about nine months after her diagnosis: “I’m living my life. Dying doesn’t feel like what I’m doing.”

– CR

***

With a harrowing opening scene, A Starry Sky Above the Roman Ghetto begins an historical back and forth between the terrible past and the present. The intertwined timeframes and eventual plot twists remind the viewer that the past is not really past.

Roman high schooler Sofia (Bianca Panconi) finds a Second World War-era letter and photograph hidden in the lining of a flea market suitcase. Her curiosity piqued, she begins a quest to uncover the story behind the mystery, which forms the narrative of the film.

Bringing the artifacts to her schoolmates, who enthusiastically join in the sleuthing, Sofia and pals then recruit students from the neighbouring Jewish high school to join in the mystery-solving.

There is charm in the cross-cultural friendships and some minimal tension when the teens meet obstruction from their parents and teachers. But the film is generally simplistic, too often cutesy and frequently hammy.

Before they have even tracked down the basics of the historical mystery, the students decide to turn their quest into a play. The movie itself has the feel of a high school production, and the fresh-faced, upbeat teen spirit seems incongruous with the Holocaust narrative at the heart of both the theatre production and the film. Impediments are too easily overcome. Archival research eurekas far too effortlessly and speedily fall into place. (The way the characters manhandle historical documents would make an archivist recoil.) An ostensible Montague/Capulet hurdle to a pair of star-crossed lovers is resolved in the most facile manner imaginable. The ending is unbelievably tidy – unbelievable being the operative term.

Continuity and fidelity to peoplehood and identity are core themes, but even these are handled poorly. For example, a Jewish boy gives Sofia a convincing explanation for why he must date and marry only a Jewish girl, but the next day he apologizes, apparently deciding that maybe continuity isn’t as sacred as a little amorousness after all.

The resolution to the larger mystery falls very close to home for Sofia, whose own life is altered by her discovery. This outcome provides some justification for the girl’s otherwise inexplicably dogged devotion to unraveling the mystery. But the whole thing has more of a Scooby-Doo vibe than the solemn drama the film probably set out to create.

There is some eye candy in the form of Roman architecture, including parts of the city’s Jewish quarter, but it is perhaps a thwarted COVID-era wanderlust to blame for finding fault that the film is not more of a visual celebration of the eternal city.

There is some decent acting and there are enjoyable components to A Starry Sky Above the Roman Ghetto, but it is hard to sustain the premise of an historical mystery when every twist and turn is foreseeable long before the ostensibly bright students clue in.

– PJ

***

Fans of Airplane, Naked Gun and Austin Powers will settle right in with the ridiculous Israeli comedy Mossad. Upending the perception of the Israeli intelligence agency as one of the world’s greatest, the film centres on what must be Mossad’s most moronic agent.

The action begins with the kidnapping of the world’s foremost tech magnate, Jack Saterberg, while he visits Israel. (One doesn’t have to stretch the imagination much to conjure a mashup of Twitter’s Jack Dorsey and Facebook’s Mark Zuckerberg). It falls to Mossad operative Guy Moran (Tsahi Halevi) to team up with CIA agent Linda Harris (Efrat Dor) to confront the bad guys.

When Mossad hit Israeli theatres in 2019, it saw a box office-smashing open. It is an all-ages bit of entertainment, with slapstick buffoonery and sight gags – and not really a lot more. There is certainly plenty of violence, but it is exclusively of the cartoonish variety.

In addition to sight gags, smartass dialogue drives what there is of a direction to the story. “I’m a Mossad agent. Here’s my card,” Moran says. “It’s blank,” replies the recipient. “I’m a secret agent,” he says. Nyuk nyuk nyuk.

The kidnappers threaten to stop all cellphone service worldwide. When they offer a two-minute taste of the threat, global mayhem and violence ensue, underscoring the urgency of preventing the calamity. Suffice to say the only real tension in the 90 or so minutes comes from bracing for the next corny gag.

All the predictable scenarios are packed in – like a countdown clock to doomsday and other tenets of the genre – but in the most outlandish forms. Romance also figures, with Israeli-Israeli, Israeli-American and human-machine flirting adding spice and disorientation befitting a script that seems to view no joke as too absurd if there’s a chance of a laugh.

For a harmless multigenerational movie night, Mossad will deliver a few side-splitters and a lot of snickers.

– PJ

***

photo - Hila Natanzon and Amir Tessler rebuild a derelict airplane in Sky Raiders — Hila Natanzon and Amir Tessler rebuild a derelict airplane in Sky Raiders.

Sky Raiders is pure family fun. In Hebrew with English subtitles, the audience needs to be old enough to read, but not even that well, as the action is pretty easy to follow. For the parents who may have watched The Love Bug when they were a kid, there will be a comforting sense of familiarity with Sky Raiders, though the historic plane that gets rebuilt in this movie isn’t anthropomorphized and the love story in this case is between the teens.

Yotam (Amir Tessler) is the new kid at school and has trouble fitting in. When he spots Noa (Hila Natanzon) playing soccer with a group of boys, and holding her own, he is smitten. He joins the game but soon requires medical attention for an asthma attack, having left his inhaler at home, despite his over-protective mother’s multiple reminders for him to take it with him; his father, a pilot, died a few years earlier in a plane crash. Noa has her own parental problems – her father, also a pilot, has dismissed her as, basically, “just a girl” – and her older brother bullies her.

The two teens share both the love of all things planes and flying, as well as parents who actively try to dissuade them from these loves. They find their father figure in the grumpy old man dubbed “Mad Morris” by the local kids, who, surprise, is a really nice guy, just sad and lonely.

When Yotam and Noa discover a Messerschmitt that had been left to rot in a plane cemetery, the two – with Morris’s help – set to restore it. And, not only to restore it so that it can sit in a museum, but so that it can actually be flown in the upcoming annual Yom Ha’atzmaut airshow.

With some cheesy CGI, young love conquering all, bullies put in their place, the ostracized taking front-stage, and happy parent-child reconciliations, Sky Raiders is Disney-esque and charming. Cue the music to swell, as the credits begin.

– CR

For tickets to the film festival, visit vjff.org.

Richmond marks the Shoah

Left to right: Councilor Kelly Greene, Councilor Bill McNulty, Bayit past president Michael Sachs, Richmond Mayor Malcolm Brodie, Bayit president Keith Liedtke, Councilor Chak Au and Councilor Alexa Loo at the Bayit, after the mayor officially proclaims Jan. 27 as International Holocaust Remembrance Day in the city of Richmond. (photo by Cynthia Ramsay)

On Jan. 22, emotions were near the surface in a Holocaust commemoration that included the official proclamation of Jan. 27 as International Holocaust Remembrance Day in the city of Richmond. In a packed sanctuary at the Bayit, a synagogue in the province’s second-largest Jewish community, survivors, rabbis, community leaders and a host of elected officials from all levels of government were on hand to mark what was billed as an historic day.

Writer and teacher Lillian Boraks-Nemetz spoke as a survivor of the Holocaust and shared her first-person account, as well as the moral implications of what happened and the weight of survival.

photo - Lillian Boraks-Nemetz — Lillian Boraks-Nemetz *(photo by Cynthia Ramsay)*

“Not a day passes when I don’t ask myself why did I survive when six million perished, 1.5 million children and among them my 5-year-old sister,” said Boraks-Nemetz. “And I survived. Why? When every European Jewish child was automatically sentenced to death by Hitler, I won. Was my survival a miracle? A twist of fate? The will of God? Why me?”

She recalled the day everything changed, Sept. 1, 1939.

“I was alone on the porch of my grandfather’s summer home when masses of airplanes passed over my head. I heard shots, explosions, my dad ran to get me and we barely made it to the shelter, where the sight of crying children and frightened people confirmed my own fears,” she said. The Nazis invaded her Polish homeland. Jews lost all human rights, her father lost his right to practise law, her uncle was prevented from practising medicine. Teachers, professors and businesspeople were all kicked out of their positions. Jewish children did not attend schools and they were bullied, a precursor of the much graver fate to come.

Soon the Jews of Warsaw were imprisoned in the ghetto, where a Nazi-created dystopia developed.

“People stole food from each other,” she said. “All morality ceased to exist in an amoral world.”

Young Lillian was smuggled into the factory where her mother was a slave labourer. Lillian’s grandmother had bought a small house in a village and promised it to a man in exchange for posing as her husband, creating a pretext of a non-Jewish Polish family. Lillian was then smuggled from the ghetto through bribery and survived the war with her grandmother and the man.

“What were my chances of surviving? The rate of a child’s surviving the ghetto was seven percent,” she said. “We were liberated in 1945 by the Russians. But liberation isn’t liberating to survivors.”

While adults worked to reestablish their lives in a new country, children were left largely to their own devices to assimilate all that had happened. Psychiatry or any professional help was largely nonexistent.

“I was told to forget and to let go by people who didn’t have a clue what was on my mind or my soul,” she told the audience. “This was not a physical wound that results in a bruise or a scab, which then falls off and mostly disappears. This is a branding on the soul of fire caused by man’s inhumanity to man, woman and child. The enormity of the Holocaust is still largely incomprehensible and still emotionally inaccessible to those who were born here.”

photo - Judy Darcy — Judy Darcy *(photo by Cynthia Ramsay)*

Judy Darcy, British Columbia’s minister of mental health and addictions, shared the story of how her father survived the Holocaust and subsequently hid his Jewish identity to everyone, including his own children, until the last years of his life, when he tried to reconcile his experiences in meetings with the late Toronto rabbi Gunter Plaut. Darcy’s story was featured in the Independent (Feb. 24, 2017, jewishindependent.ca/mlas-father-hid-past).

photo - Rabbi Levi Varnai speaks as Keith Liedtke looks on — Rabbi Levi Varnai speaks as Keith Liedtke looks on. (photo by Cynthia Ramsay)

Rabbi Levi Varnai, spiritual leader of the Bayit, recalled his family’s survival during the Holocaust, and Ezra Shanken, chief executive officer of the Jewish Federation of Greater Vancouver, spoke of the human potential for good and evil.

“We must understand that we as human beings have the capacity for immense love but also to create immense pain and it’s only through disciplining ourselves through education and through moments like this that we ensure that the community that I think we all want, which is a community of love, is what will remain,” Shanken said.

photo - Ezra Shanken — Ezra Shanken (photo by Cynthia Ramsay)

Richmond’s Mayor Malcolm Brodie spoke at the event. In an interview with the Independent after, he noted that he often receives requests for proclamations. Recently, the urgency for making a statement and standing with Jewish people was accentuated when a Richmond auction house had to be pressured to cancel the sale of Nazi military memorabilia. Participating in the commemoration with the Jewish community was significant for him, said the mayor, and the past is a lesson for the future.

“I found it quite moving,” said Brodie, noting the remarks by Boraks-Nemetz and Darcy. It is important, he said, “to remind people, and the greater community, to watch out for the signs, because something like this – hopefully never on the scale – but something could happen again.… There have been enough times recently that antisemitism is still a real thing. It is something that we don’t hear too much about but it is something that is very real. In addition to honouring these millions who died, we have to educate young people to make sure that everybody knows the facts and we make sure that it never happens again.”

Michael Sachs, a Jewish community activist and past president of the Bayit, was pivotal in organizing the event – which was co-hosted by the Bayit, Vancouver Holocaust Education Centre, Centre for Israel and Jewish Affairs, Kehila Society of Richmond and Jewish Federation of Greater Vancouver – and ensuring the attendance of the elected officials. Among the attendees were the mayor, most of Richmond’s city councilors, all four of the city’s members in the Legislature, Member of Parliament Alice Wong and former MP Joe Peschisolido, as well as others.

“There were 100 chairs and it was standing room only,” Sachs said afterward. “It’s historic because it’s the first time in Richmond that this proclamation has been made. To have such an outpouring of elected officials, VIPs and all these people coming out – it’s the first in history in Richmond.”

Sachs was effusive in his praise for the mayor for his actions. While many commemorations are taking place because it is the 75th anniversary of the liberation of Auschwitz, that was not a prime motivator of the Richmond event, said Sachs.

“It’s the first step of many that will come,” he said. “It’s the beginning of a real public acknowledgement that will lead to more public education. We had someone who was there, one of the aides of an elected official, and he came up to me afterwards and he said, ‘I didn’t know anything about the Holocaust.’ That’s one person right there,” Sachs said. “And, hopefully, this moment continues to help bring Holocaust education into every classroom in this province.”

Showcasing life’s complexity

In The Singing Abortionist, Dr. Henry Morgentaler comes across as an enigmatic figure. (photo from Vancouver Jewish Film Festival)

This year’s Vancouver Jewish Film Festival will entertain, inform and challenge viewers, from its opening event – YidLife Crisis, a film all in Yiddish (with English subtitles), and its Yiddish-speaking stars/writers Jamie Elman and Eli Batalion as guests – to its final screening, the French film Once in a Lifetime, based on the true story of an inner-city high school in Paris. This week, the Jewish Independent gives you a glimpse into the festival, which runs Nov. 5-12 at Fifth Avenue Cinemas.

A difficult national hero

There are few surnames in Canada that can evoke such visceral and opposite reactions as Morgentaler. Henry Morgentaler is the name most associated with abortion – with providing abortion services to women, with fighting abortion laws, and for eventually leading a case to the Supreme Court of Canada that resulted in the permanent overturning of Canada’s abortion statute.

To allies, he is a hero. To enemies, he is “Hitler,” as countless people scream at him in footage in the documentary The Singing Abortionist. (He was known to hum or sing a few lines while performing abortions, including one he performed on CTV’s W5 program, which ran the procedure in its five-minute entirety.) Yet even to allies – including his children – he is, as one biographer described him, a “difficult hero.”

In interviews before his death in 2013, Morgentaler acknowledged that everything he did in life was with the aim of earning the love of women. This guided him in becoming the foremost advocate in the country for women’s reproductive choice, but it also led to his reputation as a “womanizer.”

Morgentaler was a relatively unknown doctor when he felt morally bound to begin offering abortions, a crime that carried a potential life sentence for the doctor and two years in prison for the patient. Across 20 years of legal battles, including a stint in prison, Morgentaler led the legal and PR battle for choice, which culminated in his case before the Supreme Court of Canada that, in 1985, struck down Canada’s abortion law.

In this one-hour film, Morgentaler comes across as an enigmatic figure. He admits to megalomania, albeit with a guffaw. His children speak about their own conflicted relationships with him. His lawyer says Morgentaler was an easy target for anti-abortion forces to caricature as a “strange-looking, hook-nosed Jew.” Morgentaler is both introspective about his motivations but clearly suppresses, according to those around him, his experiences as a Holocaust survivor.

But Morgentaler’s career – particularly his lifelong devotion to the fight for abortion rights – is a direct result of his suffering under Nazism. He was a forced laborer in the Lodz Ghetto before it was liquidated and its residents sent to Auschwitz. The film follows Morgentaler on his only return to the place where he lost his mother, and where he and his brother survived. The experience, he tells the filmmaker, taught him that, “Just the fact that something is law does not necessarily mean it is good or justified or it’s rational.”

– PJ

Monumental reconstruction

Before the Holocaust, Poland had about 200 wooden synagogues, a richness of liturgical architecture that one expert said “rivals the greatest wooden architecture anytime in history, anywhere in the world.” All were lost.

That American expert, Rick Brown, began a project to painstakingly reconstruct from photographic and other records a prime example of that lost history. Working, first, with his students at the Massachusetts College of Art, the project eventually expanded to include more than 300 people, mostly students, from 46 universities and 11 countries.

photo - Raising the Roof tells the story of how a team of hundreds recreated the painted roof and ceiling of Gwozdziec Synagogue in Poland — Raising the Roof tells the story of how a team of hundreds recreated the painted roof and ceiling of Gwozdziec Synagogue in Poland. *(photo from VJFF)*

The undertaking was monumental. Using only the tools that were available at the time, and working on site over successive summers in Poland and Ukraine, the team recreated the intricately constructed and painted roof and ceiling of Gwozdziec Synagogue. (Gwozdziec is actually in Ukraine, but was part of the greater Polish territory during the heyday of synagogue architecture and its synagogue is both one of the most dramatic and one with the most information available to aid the team in recreating it.)

Brown and his group didn’t know what they would do with the to-scale project when it was completed, but fate intervened. The POLIN Museum of the History of Polish Jews had been designed to accommodate exactly such a replica. After years of tree-felling, lathing, metalworking, complex joinery and scrupulous research on building techniques and paint colors, the roof and ceiling were raised into place at the Warsaw museum.

Raising the Roof, the film that tells the story of the project, is fascinating on multiple fronts. It involves many people with divergent motivations, including Jews, non-Jews, Americans, Poles, artists and even volunteers with no particular skill beyond enthusiasm. There are poignant reflections on the meaning of the original architecture, its loss and regeneration. Underpinning the entire project is the memory of the lost civilization of Polish Jewry, from which 70% of today’s Jews have ancestry, and whose architecture and culture can be reclaimed, but whose existence cannot.

– PJ

Being high and low in Haifa

If you can hand yourself over to filmmaker Elad Keidan and immerse yourself in the sights of Yaron Scharf and especially the sounds created by Aviv Aldema, Afterthought is a worthwhile journey.

photo - Uri Klauzner as Moshe, left, in Afterthought, Elad Keidan’s first feature — Uri Klauzner as Moshe, left, in Afterthought, Elad Keidan’s first feature. *(photo from VJFF)*

The Israeli film’s Hebrew title, Hayored Lema’ala, “down up,” basically sums up what happens on the outward level. Moshe, whose name and story we don’t find out till almost the very end, goes off in search of his wife’s lost earring, which leads to other discoveries about his wife and their relationship. As he starts his exploration up the stairs to the top of Mount Carmel in Haifa, Uri begins his descent to the port, where, we eventually find out, he is planning on catching a freighter abroad, both to finish writing a book and to avoid army reserve duty, as well as to run away from mistakes he has made. The two men pass the same sights, sounds and people at different points in the day, and they encounter each other, stopping for a brief chat – Moshe was Uri’s third-grade teacher, it turns out.

The English title for the film comes from a conversation Moshe overhears in a coffee shop. A man tells his friend about how he wishes that, after a talk with his mother, for example, he could call his mom and leave a message with everything that he actually wanted to say, or meant to say.

Afterthought is Keidan’s first feature, and it is a solid debut despite the slow pace. Viewers are ultimately rewarded by the internal ups and downs of the main characters, the men’s reflections on life, friends and family, and the people they meet along the way. Aldema’s radio snippets, machine and human noises, music selections and other sound effects are a character in and of themselves, and are worth the price of admission alone. These, together with Scharf’s cinematography – which is not flashy, but subtly effective – and the acting of Itay Tiran as Uri and Uri Klauzner as Moshe make for a movie that will not only have you thinking of it afterwards, but of your own life, the choices you have made, and the people you hold dear.

– CR

For the film schedule, tickets and information on all the festival’s offerings, visit vjff.org.

Trudeau talks with the JI

Liberal Party of Canada leader Justin Trudeau in an interview with Cynthia Ramsay of the Jewish Independent. (photo by Adam Scotti)

Justin Trudeau said he is cautiously optimistic about the Iran nuclear deal, insisted he is committed to fighting ISIS and reiterated his commitment to the environment and social fairness in an exclusive interview with the Jewish Independent.

The federal Liberal leader, who hopes to be prime minister after the Oct. 19 federal election, acknowledged the implications of Iran’s agreement with Western powers over its nuclear program, which the Tehran regime maintains is for energy purposes only.

“We all start from the same place on this – a nuclear-armed Iran is a threat not just to Israel, not just to the region, but to the entire world, and we have to make sure that Iran doesn’t achieve that,” Trudeau said.

There are only two ways to reach this objective, he said: direct military intervention on the ground against the Iranian regime or a diplomatic agreement. “We don’t have such a great record of military intervention in that part of the world,” he noted, stressing that the agreement is “not based on trust but on verification.”

“We are cautiously optimistic about the deal,” he said. “We’re not saying we should drop the sanctions today. Obviously, there are a lot of milestones to be addressed, but I think anything [is positive] that sets us down the path of both delaying the ability significantly of Iran to get the nuclear bomb and increases the ability of the Iranian people to put pressure on their regime to change – because we all know we can make a tremendous distinction between the Iranian citizens and their government that doesn’t represent them particularly well.”

Trudeau also advocated reopening diplomatic relations with Iran eventually. “I do feel that it would be very nice to hope to reopen that embassy at one point because you don’t have embassies with just your friends, you have your embassies with the people you disagree with,” he said. “However, on top of addressing the nuclear concerns, Iran has to do an awful lot to demonstrate that it’s no longer going to be a state sponsor of terrorism in the region, around the world, and they have to do an awful lot around human rights and repression of their own citizens and dissent within Iran before they can rejoin the community of nations. But I think we’re on a path that should be cause for at least a level of comfort that perhaps we’re in a positive direction now.”

In speaking with the JI after a speech to the Richmond Chamber of Commerce last Friday, Trudeau, in his second exclusive with the paper, clarified his stance around confronting ISIS.

“This is a great opportunity for me to spell out our position on this,” he said. “The Liberal party feels it is extremely important that Canada be a significant part in the effort against ISIS. We are absolutely supportive of being part of that coalition and, indeed, we feel there is a military role for Canada in the fight against ISIS that can make a very big difference. We disagree that bombing is the best way for Canada to do that. That’s why we voted against the mission and voted against the expansion of the mission into Syria, because it has a likely side effect of strengthening Bashar al-Assad’s grip on power and that we don’t necessarily want.”

“We are absolutely supportive of being part of that coalition and, indeed, we feel there is a military role for Canada in the fight against ISIS that can make a very big difference. We disagree that bombing is the best way for Canada to do that.”

What Trudeau would prefer, he said, is for Canada to provide more humanitarian aid, for example, and for this country’s military to provide the kind of role it does in Afghanistan. “We’ve developed tremendous expertise,” he said, “which is training the local troops to be able to take the fight more efficiently to ISIS. That would happen far from the frontlines because we don’t want Canadian troops to be involved [there] but also because we know that it is the local troops that are going to be effective at taking back their homes, their communities, and dropping in Western soldiers doesn’t make the situation better as, unfortunately, the Americans understood in Iraq awhile ago.”

He sees an opportunity for Canada to make an impact without being directly involved in the conflict. “We feel there’s a role for Canada to be a significant resource in training the local military, not in a direct combat role that Mr. Harper is proposing with the bombings,” he said.

Trudeau welcomed the opportunity to explain his support, with caveats, for the federal government’s anti-terrorism bill, C-51. “The Liberal party has always understood that we need to protect Canadian security and uphold our rights and freedoms – and you do them both together,” he said. “To our mind, Bill C-51, even though it has clear elements in it that increase the safety for Canadians – which is why we supported it – it doesn’t go far enough to uphold our rights and freedoms, which is why we’re committed to bringing in oversight, putting in a sunset and review clause onto our anti-terror legislation, and also narrowing and tightening some of the rules around what behavior CSIS [Canadian Security Intelligence Service] can have – warrantless searches and all those sorts of things.”

His political opponents, he said, go too far in each direction. “Mr. Harper thinks, ‘No, no, we don’t have to do anything more around rights and freedoms, we have enough, we’re just giving more power to our police,’” Trudeau said. “I think that’s a problem.

“Mr. Mulcair says, ‘No, we don’t need to do anything more on security. Even those things in C-51, we don’t need them, we’re fine the way it is.’” That is also a problem, according to Trudeau. “We have to do more,” he said. “But we have to do more on both sides.”

On other topics, the Liberal leader expressed support for increased trade with Israel. “We obviously support the latest announcement around Canada-Israel free trade,” he said. “I know it was a lot of agricultural stuff in this round, but it’s a very good thing. This was a deal that was signed by [Liberal prime minister] Jean Chrétien back in ’97 and the Liberal party believes in trade. We believe in free trade, and we’re happy to continue trade with Israel.”

Trudeau took the opportunity to reiterate his opposition to the movement to boycott, divest from and sanction (BDS) Israel.

“You can have all sorts of debates over positions, but when you’re engaged in demonization, delegitimization and double standards, that’s just not what we are as a country.”

“I think the BDS and anti-apartheid movement, as I’ve said many times, runs counter to Canadian values,” he said. “You can have all sorts of debates over positions, but when you’re engaged in demonization, delegitimization and double standards, that’s just not what we are as a country.”

The Independent also asked Trudeau about the Liberals’ approach to climate issues and social equality.

“At a very basic level, we get it, as Canadians, particularly here in B.C., that you cannot separate what’s good for the environment and what’s good for the economy anymore,” Trudeau said. “You have to do them both together, and you can’t get one without the other.

“You still have people saying, ‘Oh no, we have to work on the economy, so let’s forget about environmental oversight,’ or ‘We need to protect the environment, so, no, we can’t create jobs.’ Canadians know we need them both together,” he said. “One of the problems is we’ve had 10 years of such a lack of leadership on the environmental level that it’s hurting our economy. We need to get our resources to market in responsible, sustainable ways. We’re not able to do that right now because nobody trusts Mr. Harper to do it right. Restoring that sense of public trust, [so] that people know, we need jobs, we need economic growth … in a way that understands that it’s not just about governments granting permits, but about communities granting permission, as well.

“One of the things we’ve put forward in our environmental plan is that, in the 10 years of lack of leadership on the federal side, the provinces have moved forward,” Trudeau continued. “B.C. has a very successful carbon tax, Alberta put in a carbon levy-style tax, Ontario and Quebec are doing a cap-and-trade. What that means is that 86% of our economy has already put in a mechanism to put a price on carbon, so the federal government can’t suddenly say, ‘OK, we’re doing cap-and-trade. Sorry, B.C., you’re going to have to change your system,’ which would make no sense; or vice versa, ‘We’re doing a carbon tax.

Sorry, Ontario, you can’t do it.’ What we have to do is recognize that different jurisdictions will have different ways of reducing their emissions – the federal government has to be a partner, a supporter, an investor in our capacity to do that across the country, in order for us to reduce our emissions and be responsible about the environment.”

Trudeau acknowledged the solutions won’t be immediate. “We need to move beyond fossil fuels, but it’s not going to happen tomorrow,” he said. “Right now, a lot of people who are blocking and opposed to pipelines aren’t realizing that the alternative is a lot more oil by rail, which is really problematic – more expensive, more dangerous.” Under the circumstances, he said, people are just saying no: “No to everything, because we don’t trust the government in place.”

He said he hopes to form a government that addresses climate change, invests in clean technology, renewable resources and the kinds of jobs that advance beyond a fossil fuel economy. For now, “we have to make sure that our oil sands are developed going forward in a responsible, efficient way that doesn’t give us the black eye on the world stage and with our trading partners,” he said.

“The Liberal party believes in evidence-based policy and we believe in harm reduction. My own hometown, Montreal, is pushing hard to set up an Insite-type clinic. The Liberal party supports that. The Supreme Court supports that. This government, for ideological reasons, is pushing against it. I think that’s just wrong, and we’re happy to say that. ”

Vancouver has been the testing ground for new ways of dealing with addiction, particularly the Insite supervised drug injection clinic. “The Liberal party believes in evidence-based policy and we believe in harm reduction,” Trudeau said. “My own hometown, Montreal, is pushing hard to set up an Insite-type clinic. The Liberal party supports that. The Supreme Court supports that. This government, for ideological reasons, is pushing against it. I think that’s just wrong, and we’re happy to say that.”

In the same week that Canadian parents were receiving Universal Child Care Benefit [UCCB] cheques in the mail calibrated to the number of children in their home, Trudeau was promoting his party’s “fairness plan.”

“Mr. Harper’s child benefit, for example, goes to every family regardless of how wealthy they might be,” Trudeau said. “We, instead, decided, let’s make it means-tested so that people who need the help the most will get the best help. For a low-income family, it means up to $533 a month, tax-free, and then it grades down until someone making over $200,000 doesn’t get any child-care benefit at all. And the benefits that will go to the nine out of 10 Canadians will be tax-free, so the money you get is actually money you get to spend.”

The plan also proposes to lower the middle-class income bracket from 22 to 20.5, which will result in about $3 billion in lost revenue. “In order to get that $3 billion,” said Trudeau, “we’re bringing in a new tax bracket on the wealthiest Canadians, people who make over $200,000, to even things out. And it’s not just about redistribution, it’s also about growing the economy because we know, when middle-class families and the working poor have money in their pockets to spend, to grow, it stimulates the economy.

“Interestingly enough, the NDP is lined up with the Conservatives on those positions,” he added. “They support the Conservatives’ UCCB that gives big cheques, and they’re opposed to us bringing in a higher tax bracket for the wealthiest Canadians, which I don’t understand. They have their reasons for it but, for me, the NDP is supposed to be a party that stands up for the most vulnerable.”