Jews and Humor by Leonard J. Greenspoon

Author:Leonard J. Greenspoon
Language: eng
Format: epub
Publisher: Purdue University Press
Published: 2011-01-15T00:00:00+00:00

Nuances and Subtleties in Jewish Film Humor

Michael W. Rubinoff

From a purely an American viewpoint, people might think Jews became “funny” in this country or perhaps in relatively modern times. But such has not always been the case. As we know from documented studies, Jews and other minorities have borne the brunt of jokes for a long time. However, only in the post-World War II decades have Jews really been permitted to enjoy, if not enthusiastically contribute to, these entertainments.

Naturally, this presupposes that there is either a unique subgenre of Jewish film or at least Jewish comedic film. Over the past twenty-five years, American Jewish popular culture has attracted serious and scholarly attention.1 These works have helped define various contexts. In studying film, there is also a risk. As illustrated herein, the humor shown in one decade or period does not always hold well with age. Arguing what distinguishes Jewish comedic film and/or a “Jewish film” suggests that the two are not mutually inclusive or exclusive. One does not have to be Jewish to even make a Jewish film. Inglourious Basterds (Tarantino, 2009) is but one of many such films made by gentile filmmakers. This study will analyze how these dynamics play against one another with examples from the early twentieth century through the heyday of Mel Brooks. The focus will be on six select films, both well known and lesser known, as primary source documents. Upon their examination, each movie reveals its own take on Jewish humor.

The definition of a “Jewish film,” much less what is comedic Jewish film, has changed over the years. The average movie scholar or buff might think the original version of The Jazz Singer in 1927 is a “Jewish film.” The movie stars Al Jolson, and the film’s opening is replete with Lower East Side scenery. Moreover, the story centers on a cantor and Yom Kippur and includes the chanting of Hebrew in synagogue scenes. With the exception of Jack Robin’s girlfriend played by May McAvoy, the principal cast appears to look “so Jewish.” In reality, neither Warner Orland nor Eugenie Besserer, who portrayed Jake’s parents, were of Jewish ancestry. However, for authenticity, Warner Brothers recorded the famed Cantor Joseph Rosenblatt for the prayer sequences. From the pas-sage of seven decades, The Jazz Singer can be seen as a nostalgic allegory simultaneously enshrining pure melodrama. The humor in the film might best be seen in the story between the lines. With the narrative about a frustrated boy who runs away from home and generational conflict, the plot unfolds against the thematic backdrops of assimilation and Americanization. But long before The Jazz Singer, there had been precursors presented to audiences.

The origin of narrative film goes back to the late nineteenth century stage. Jews were considered comical figures in vaudeville. Ethan Mordden has discussed the phenomenon of the German comic—which prior to World War I literally was understood to be a “Jewish comedian.” American-born Jews like Joe Weber and Lew Fields were the leading “Dutch or German” figures on the burlesque circuit.

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