Film, Lies And Jewish Mothers
By Neil Rubin
Two recent TV shows portray the joy and agony
of tracking the development of Jewish characters in pop culture. A
few years ago we had the quixotic, neurotic, and enjoyable Dr. Joel
Fleishman of Northern Exposure. Today, we live with the
materialistic, neurotic and nauseating Fran Drescher of The
Nanny.
What's more compelling is what such characters say
about who and where Jews are at any given time in American history.
So Sunday night, as I joined about 70 people for the latest segment
of the American Jewish Committee/The Temple annual film series, I
wondered what a film about today's Jews, which will surely be made
in 20 years, would reveal.
But first, look at what Sunday night's movie, Next Stop Greenwich
Village, said about how far we've come.
Set in the early 1950s, its lead, a 22-year-old named Larry, moves
out of his Brooklyn home into Manhattan's Greenwich Village.
Larry leaves the comforting (and smothering) confines of his Jewish
neighborhood, one where the defining trait is simply that lots of
Jews live there. He goes to a world where Jews and non-Jews seem to
mix freely, and ethnic heritage isn't even mention. That's fine for
Larry; while packing, he picks up and then puts down his
yarmulke, symbolic of the past that he feels he no longer
needs.
Larry's Jewish mother fits the unpleasant stereotype. She treasures
her son, so she screams at him, and hugs him, brings food to the
new apartment and begs him to call "tomorrow, at 4 p.m. I'll be
waiting."
A fascinating schism in American Jewish identity came in the post-movie discussion. It was so clear to those of us born in the
northeast that this was a decidedly Jewish film. But the southern-born
half of
the crowd wondered why. Driving Miss Daisy they know. But
overbearing Jewish mothers? Silent Jewish fathers? The lack of any
mention
of religion -- Jewish or not? It was decidedly not their Atlanta
Jewish
neighborhood of the early 1950s.
Back to the present. There is, I guarantee you, some kid growing up
today who will in 20 years write a feature film on Jews of the
1990s. And with the rapidly changing face of American Jewry, I
wonder how the characters in such a work would come across.
First, look at what's gone. There are no more immigrant relatives.
Unlike in past years, today the majority of young Jews have
decidedly American roots. Some, such as myself, go back five
generations on one side.
The once prominent concept of antisemitism, (remember Gregory Peck
in Gentleman's Agreement?) has disappeared. Indeed, earlier this
week I spoke to a group of Atlanta Jewish Community Center senior
adults about this. I never personally experienced antisemitism, I
said to their disbelief. For them, Hitler wasn't history and
Holocaust revisionism is a more than minor threat. But much of this
is simply irrelevant to today's younger, secular Jews, who are
driven by economics and socially by spirituality's many forms.
Even the concept of the pushy Jewish mother is diminishing. Jokes
and snickers aside, today's Jewish mother is in the workforce,
and sometimes a single parent.
So in 20 years, today's Jewish family on film might look like this:
The only question is who will be cast. For the sake of my
intestines, I pray that Fran Drescher isn't the
JWR contributor Neil Rubin is the editor of the Atlanta Jewish Times.
2/1/98: The news according to Sid