Posted by Danielle Berrin
It’s no secret—Hollywood loves the Holocaust. It’s this ever-flowing well of stories that are tragic, dramatic, ethnic and historic; the perfect Oscar bait. This awards season (as A.O. Scott declared, two months ago, in his story “Never Forget. You’re Reminded,”) was no exception. Movie theaters would be, as he put it, “overrun with Nazis.”
A minor incursion of this sort is an annual Oscar-season tradition, but 2008 offers an abundance of peaked caps and riding breeches, lightning-bolt collar pins and swastika armbands, as an unusually large cadre of prominent actors assumes the burden of embodying the most profound and consequential evil of the recent past.
David Thewlis, playing a death camp commandant in “The Boy in the Striped Pajamas,” will be joined by Willem Dafoe, who takes on a similar role in “Adam Resurrected,” Paul Schrader’s new film. In “The Reader,” directed by Stephen Daldry and based on Bernhard Schlink’s best-selling novel of the same name, Kate Winslet plays a former concentration camp guard tried for war crimes. Tom Cruise, the star of Bryan Singer’s “Valkyrie,” wears the uniform of the Third Reich though his character, Col. Claus von Stauffenberg, was not a true-believing Nazi but rather a patriotic German military officer involved in a plot to assassinate Hitler.
Yesterday after Oscar nominations were announced, the trusty Carpetbagger pointed out that Kate Winslet’s nomination for “The Reader” (in which she plays a sexy, illiterate Nazi) won out over her performance in “Revolutionary Road” (in which she plays a sexy, suburban housewife). Conclusion? The Holocaust is just more interesting.
The suggestion that the Holocaust has a massive draw on the Academy picked up a lot of traction today on Wilshire Blvd. Critics and Oscar pundits were far more smitten by her role as a tragic suburban housewife in “Revolutionary Road,” but it was her turn as a former concentration camp guard with a thing for a young man that ended in the money.
Indeed, Winslet’s performance was the best thing about “The Reader.” And although I haven’t seen Revolutionary Road, having read the book, know the unrelenting power of its dialogue. For an actor, does material get much better than Richard Yates? ? And, since it was Winslet who pushed the novel into production, I can only imagine the depths she plumbed to unearth the repressed desires of one of the darkest female characters ever written.
None of this is new. It took Steven Spielberg directing Schindler’s List to finally win his Oscar, even though he had already been nominated five times (three for best director and two for best picture). Unsurprisingly, it was the Holocaust film that enabled him to prove his artistic legitimacy. Before that, he had only directed Jaws, Close Encounters of the Third Kind, three Indiana Jones films, E.T., The Color Purple and Jurassic Park—you know, easy, unsophisticated stuff. Even for Spielberg, a Hollywood icon, it was the heavy-hearted Holocaust film that made people comfortable calling him a legend.
This zombie-like blindness to other good material results from what Scott calls a “morbid preoccupation” with the Holocaust. Up against burning smokestacks and murdered children, an ordinary housewife just won’t do. And he wonders whether the moral imperative to “never forget” means there is unlimited scope and scale to the ways the Holocaust might be exploited (anyone see The Boy in the Striped Pajamas?):
The moral imperatives imposed by the slaughter of European Jews are Never Again and Never Forget, which mean, logically, that the story of the Holocaust must be repeated again and again. But the sheer scale of the atrocity — the six million extinguished lives and the millions more that were indelibly scarred, damaged and disrupted — suggests that the research, documentation and imaginative reconstruction, the building of memorials and museums, the writing of books and scripts, no matter how scrupulous and exhaustive, will necessarily be partial, inadequate and belated. And this tragic foreknowledge of insufficiency, which might be inhibiting, turns out, on the contrary, to spur the creation of more and more material.
If the point is to catch up with the 6,000,000 people who perished, than Holocaust regurgitation through art does seem an awfully inadequate equivalency test. But what of psychological reckoning? It’d be easy to dismiss the compulsivity with which the Holocaust is interminably etched onto our subconscious as some neurotic tendency. And yet, one of the functions of art (if one agrees art has utility) is that it has the power to motivate change. Could we, just for a second, consider that the creation and subsequent experience of all this Holocaust material is actually what heals us?
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January 23, 2009 | 3:17 am
Posted by Larry Mark
By Larry Mark
On Thursday morning, I awoke early to watch the Oscar nominations, and grabbed a bagel at a Park City bagelry. Yes, they have bagels everywhere now. I also checked out two feature films with Palestinian themes: “Amreeka” and “Pomegranates and Myrrh,” which touch on the Middle East conflict in very different ways.
“Amreeka,” the feature film debut of Cherien Dabis, chronicles a Palestinian family’s journey from the Middle East to the Diaspora of post-September 11 Illinois. Muna Farah (Nisreen Faour) is a divorced, single parent struggling to remain optimistic and make a new life for herself and her teenaged son, Fadi (Melkar Muallem). When she obtains a green card to work in the United States, she makes the difficult decision to give America a try, staying with her sister and her sister’s family.
The film begins with checkpoints, first Israeli ones, and next an American one. In one memorable scene, a U.S. immigration officer asks Muna her name and nationality. When he queries, “Occupation?” Muna misunderstands and replies, “Yes, occupied for 40 years,” rather than that her former job was in a bank.
With humor, nostalgia, sadness, and authenticity, Dabis creates an absorbing story of immigration and struggle. Muna secretly takes a job at White Castle, while Fadi must confront racism at school, where classmates call him “fatty” and “Osama” and taunt him as an outsider and possible terrorist. Muna’s brother-in-law, a physician, begins to lose patients since he is Arab American, and the family falls behind in its mortgage payments. Neighbors look at the family with suspicion. Joseph Ziegler plays Mr. Novatski, the compassionate high school principal, who is of Ashkenazi Jewish descent.
Dabis said the film was inspired by her own family’s experiences. After two screenings, each with standing ovations, she related how she was born in Celina, OH, the daughter of Palestinian-Jordanian parents who immigrated to the United States and settled in the Midwest. Her father, a pediatrician, became a local hero due to the lives he had saved. Yet during the Gulf War, he lost patients, and even as the father of five daughters, he was falsely rumored to have a son who was fighting against coalition forces in Iraq.
As art, or film, imitates life, Cherien’s older sister was falsely accused in high school of plotting against President George W. Bush, which generated a visit to the school by the U. S. Secret Service. The hysteria and investigation was halted only after intervention by the relatively sane high school principal.
I asked Dabis why she decided to make the character of the principal Jewish. Mainly, she said, she needed a fellow divorcé who could relate to Muna on her level, be sympathetic, and draw out her charm and her love for her son. Further, the principal’s Jewish-American background parallels Muna’s experience of immigration and displacement.
“Pomegranates and Myrrh” explores the life of a Palestinian woman making her way between traditional expectations and modern opportunities. The drawback is that the film shows Israeli soldiers and prison guards as one-dimensional, shouting, roughnecks.
The drama opens near an olive grove, east of Jerusalem, on the day of Zaid and Kamar’s wedding. After Zaid prepares, he and his family travel to Jerusalem to a church for the ceremony. Along the way, they must pass Israeli checkpoints, where the tension is palpable. Writer-director Najwa Najjar includes long shots of the barrier wall throughout the film, reinforcing to keen observers the “situation.”
After the wedding, we see that Kamar is a free-spirited dancer, while Zaid runs his family’s olive oil business. But their honeymoon bliss is interrupted when the Israeli Army confiscates their land, charging that someone in the grove had thrown a stone at an Israeli patrol. Zaid is accused of threatening a soldier during the ensuing scuffle and is arrested and placed in administrative detention at Ofer Prison near Ramallah. The film shows him being interrogated and abused.
The grove is surrounded by barbed wire and a handful of Jewish settlers arrive, erect a flag and a tent and squat on the property. The family’s residence is vandalized and covered in Stars of David.
During this time, a new dance choreographer, Kais, arrives from Lebanon and takes a forbidden interest in Kamar, who wants to be a supportive wife to her incarcerated husband, but does not want to give up her dancing. Kais is the son of a Palestinian fighter, and, at age 10, was a witness to the massacres by the supporters of Bashir Gemayal in 1982. He lives for the moment and is without hope. By teaching the local dance troupe new steps, he is a symbol of the changing society and the conflict with new dance forms. He oversteps his authority and garners the wrath of Yusef, who has run the troupe for decades and wants to stay within the strictures of classical Palestinian folk dance.
Lea Tsemel, a well-known Israeli human right lawyer, plays the blunt, realistic, Israeli attorney hired to fight the land confiscation and Zaid’s incarceration.
For more information, visit the Sundance site.
January 22, 2009 | 2:52 pm
Posted by Tom Tugend
An Israeli film on the first Lebanon War and an American-German movie recalling World War II crimes entered the final lap of the Oscar race when the Academy Award nominations were announced Thursday morning.
“Waltz with Bashir” by Israeli director Ari Folman was picked among the five finalists for best foreign-language film, along with entries from Austria, France, Germany and Japan.
With a Golden Globe win and best picture of 2008 pick by the National Society of Film Critics already on its resume, “Waltz” is favored to take home Israel’s first-ever Oscar.
The edgy film combines state-of-the-art animation, an anti-war theme and a psychoanalytical approach in portraying the struggle of a traumatized Israeli soldier trying to recover the memories of his 1980s combat experiences in Lebanon.
The agonies of a different war dominate “The Reader,” which starts with a teenage boy’s affair with an older woman and ends with the latter convicted as an SS concentration camp guard during World War II.
Unexpectedly, “The Reader” garnered five nominations, indicating the continuing fascination by filmmakers (and their publics) with Holocaust-related themes. The nominations are in the prestige categories of best picture, director (Stephen Daldry) and actress (Kate Winslet), as well as cinematography and adapted screenplay.
One competitor to the Israeli entry in the foreign-language picture category is Germany’s “The Baader-Meinhof Complex.” The docudrama looks back to the 1960s and ‘70s, when the West German “Red Army Faction” went on a murderous rampage against some of its leading countrymen as alleged “tools of American and Israeli imperialists.”
Britain’s Mike Leigh was nominated in the best screenplay category for his film, Happy-go-Lucky, while Sam Mendes got a nod for costume design for his film Revolutionary Road.
Overall, “The Curious Case of Benjamin Button” topped the field with 13 nominations.
The Academy Award ceremonies will be held Feb. 22 at the Kodak Theatre in Hollywood.
January 22, 2009 | 1:42 am
Posted by Larry Mark
By Larry Mark
Whether it’s because of the inauguration or the economy, Park City seems eerily empty, the lines small, and the buzz relatively low. In terms of anti-buzz, the rumor is that the comedy, “Manure,” had such a poor premiere that the scheduled press screening tonight was cancelled. The film, directed by Michael Polish and written by Mark and Michael Polish, revolves around a manure salesperson in the 1960s and stars Tea Leoni, Billy Bob Thornton and Kyle MacLachlan. After the premiere, the audience—in a venue that holds more than 1,000 – reportedly had no questions, so Thornton began answering a question he asked himself, and directed his answer to an imaginary audience member whom he pretended had asked it.
Speaking of things imaginary, there is much talk each year of the hookup scene during Sundance. I recall one year, I sat next to a woman who told me of her experience at a previous festival. She met a fellow Angelino in the industry, had a brief affair, but when they returned to LA, she was persona non grata to him. It seems the mountain air gives people more license to toy with emotions and break down the barriers of industry caste levels. But in 2009, the well is dry, from what I hear.
To test this hypothesis, I posted an online personal ad this week in Park City. I invited any woman to meet a Jewish New Yorker in town for a film or beverage. I received 17 replies in the course of a week. Sixteen were from prostitutes and porn sites, and one was from a young woman working as a babysitter in a local resort. A friend of mine from Southern California posted a similar ad and got fewer, but more sane replies, although none were of interest to him.
Even so, just walking around Park City with a credential badge that says “journalist” and “Jewish Journal” has its benefits, since filmmakers and publicists will find me and pitch the most unique (read, Jewish) elements of their films. One publicist mentioned that her film’s director was accidentally bar mitzvahed during a visit to a shul as a teenager. I will investigate this. A second filmmaker told me he is Jewish and his two most avid YouTube fans are two Israeli Jewish teens, and at the same time, two other fans are rabid anti-Jewish Muslim teens. I told him to get all four together and make a documentary about the meeting.
An international director confided in me that he is Jewish, but with an Persian surname; while another explained that she was an Iraqi Jew who was born in New Delhi and now resides in London. Yet another director told me that her short is about the late gay, Jewish activist Harvey Milk; it focuses on the tape recording Milk made as Shabbat approached in his camera shop, discussing his wishes and desires should he be assassinated. (The recording is featured as a book-ending kind of plot device in “Milk,” the biopic starring Sean Penn, which will likely receive multiple Oscar nominations tomorrow morning). The message, in short: There are Jewish filmmakers everywhere.
For more information, visit the Sundance site.
January 21, 2009 | 4:39 pm
Posted by Danielle Berrin
I have a confession: I’m watching this video thinking, ‘Ron Howard looks cute in a beanie.’ I can’t help it. There he is, gabbing about Barack Obama and the “death of cynicism” and all that, and I’m thinking, ‘I wish my boyfriend would groom his beard like Ron Howard.’ Scruffy but defined, light and sweet. Qualitatively, it’s the sheer opposite of Howard’s recent filmmaking—A Beautiful Mind, Cinderella Man, Frost, Nixon—which are deep, darkish and meticulously storied. Whereas, his earlier work more closely resembles his appearance as a nice (red-haired) Jewish boy. Remember Happy Days? Or Splash (with a young Tom Hanks at his most Hanks-ish)? And who could forget the irrepressible diarrhea song that immortalized Parenthood? Light and funny, like the beard.
As a completely tangential aside: I’d be remiss if I didn’t add that, besides our mutual and devoted penchant for Russell Crowe, my very favorite Ron Howard product has to be “Felicity,” the short-lived WB show that got me through high school and college (its prolonged run the result of my compulsive purchase of all four seasons on DVD). This is because, as any gal who’s ever made a terrifically misguided decision for love of a boy will tell you, Felicity ruled.
January 20, 2009 | 9:16 pm
Posted by Danielle Berrin
Only President Obama’s celebrity could outshine his most ardent Hollywood supporters. Steven Spielberg, Dustin Hoffman, Jay-Z, JLo and Beyonce are just a few of the stars who fled the nation’s capital for today’s historic inauguration. And they weren’t the only ones: an estimated two million people swarmed the National Mall to hear Obama’s prosaic speech about remaking America.
Even Spielberg quipped, “I couldn’t afford to do this shot in a movie.”
The Telegraph notes the celebrity quotient as a distinction in how America celebrates:
Unlike a British coronation, foreign monarchs, presidents and prime ministers were not invited to the inauguration, in keeping with tradition, although ambassadors from around the world were present to represent their countries.
So while the Brits pride themselves on the stuffy, civilized nature of their politics, the presence of America’s celebrities evinces a thing or two about American cultural values. Yet irrespective of our celebrity worship, wasn’t it nice that for one day, we got to see our larger-than-life superstars as part of our collective American identity? Today their star power couldn’t outshine Obama’s, so they became, simply, citizens.
January 20, 2009 | 5:45 pm
Posted by Larry Mark
By Larry Mark
As moths are drawn to the flame, celebrities are drawn to the cameras. Sundance usually provides the necessary flashbulbs, but this year, the media is in Washington D.C. And so, the word here in Park City is that most celebrities have left Utah and flown East for the inauguration. Whether it is the festivities there or the economic recession, Park City seems emptier than in years past. Main Street is not as crowded, and the wait list lines don’t seem as long, and even the Yarrow Hotel has reduced its lofty prices for the second half of the fest. Parties are fewer, and the availability of swag is geometrically less than last year.
There is also a distinct decrease in “buzz” and deals, and what some say is the peripheral nonsense, or the “childish things” that President Obama mentioned in his inaugural address.
The greatest buzz amid this dearth of buzz is for ”Sin Nombre,” a U.S.A/Mexico production directed by Cary Joji Fukunaga and distributed by Focus Features. Sin Nombre means “nameless” or “without a name.” The producer is Amy Kaufman, a Massachusetts native who is fluent in Spanish and English and a past associate of Scott Rudin, David Linde, and James Schamus. She was executive producer of Alfonso Cuaron’s “Y Tu Mamá, También” and led the filmmaking team on Sophia Coppola’s “Lost in Translation.“ For Kaufman, “Sin Nombre” is a Greek tragedy that authentically shows how much is involved among families traveling from Central America to the United States. The film is a love story and chase film as well as a thriller. A Mexican Noir film, it is set on the border crossings of Mexico, where gangs thrive and control these small, precarious universes, and young men and women, Mexicans, Hondurans, and others, try to cross to America on freight trains for new, safer, and more prosperous lives. Sayra is traveling with her family from Honduras atop a freight train, when she meet Casper, a gang member, murderer and thief, whom she thinks she can reform and change. Both Casper and Sayra are trying to reconstruct their families and create individual connections. As the train carries them to a new life, it shows that it is also a frightening, lumbering, steel monster. The train can be an angel to some and a devil to others, and the same can be said about people.
Another much-hyped film is “I Love You, Phillip Morris,” a gay love story starring Jim Carrey and Ewan McGregor (the producer, Andrew Lazar, is Jewish). I saw this gay love story in Utah, in a high school auditorium. And they say times do not change.
The film is the hard to believe, but somewhat true, story of a high I.Q. (169) con man in Virginia Beach, VA, who commits outlandish scams and is repeatedly incarcerated—all in the name of love. When the movie opens, Steven Russell (Carrey) is a married, local cop and church leader. But not long into the film he has an epiphany, pursues the life of a gay playboy, and eventually lands in prison. There he meets the waif-like, Phillip Morris (Ewan McGregor), a fellow inmate, and falls in love. This may be the latest gay love story performed by straight actors, but it was shot at several real prisons, including Angola, where all the extras were actual, life term prisoners.
I had the opportunity to query the film’s producer, Andrew Lazar, at a panel discussion hosted by The Queer Lounge, a program of the Gay & Lesbian Alliance Against Defamation (GLAAD), in Park City. Lazar, who grew up in Los Angeles and became interested in film at New York University, acquired the rights to Russell’s story after reading a treatment and three chapters of an unfinished novel about the con artist.
“Yes, it’s interesting that Steven Russell is a gay man, but what makes the story universal is that everyone can relate to being obsessed and love sick and wanting to be with that person who’s going to change your life,” Lazar said.
“This movie is not about a straight guy pretending to be gay,” he added. “Steven Russell was a homosexual and it’s a very provocative script [by the screenwriters of ‘Bad Santa’]. We lucked into being introduced to Luc Besson, who funded the film, early in the process, because sexual relationship stories don’t seem to fluster Europeans as much as they do Americans.” And the sexual chemistry between the two protagonists is intense.
Asked if there is still a stigma attached to playing gay, Ewan McGregor responded that as an actor, you are always seeking out interesting characters to play, and that he has played gay before without any stigma. Carrey was passionate about his role, but admitted that “his people” raised many concerns about him taking on the part. Carrey said he created a “smoldering yum yum eat ‘em up vibe” between McGregor and himself in the film.
McGregor said, “I did not want the humor to come out of the story being about two men in love.” If that were the case, he said, would have declined to participate in the movie. Carrey admitted that “there is a homophobic voice in me,” which he had to overcome to be in the film. He encouraged viewers to find parts of themselves in other people—gay people—in order to overcome their own homophobia. “The change must occur in each individual; it is an internal job,” he said.
Carrey repeatedly said, “Love is love, and that’s it.” Steven is relentless about love, and creates cons in order to find it as well as acceptance and significance in life. “Beware the unloved,” Carrey said. “They go to extremes for acceptance.”
For more information, visit the Sundance site.
January 18, 2009 | 7:04 pm
Posted by Larry Mark
By Larry Mark
As sundown came to Sundance on Friday evening, I prepared to trek over to the local synagogue, Temple Har Shalom, now ensconced in a beautiful new building, complete with a theater for Sundance’s use. It was the weekend of parshat Shemot, the start of the Book of Exodus from Mitzrayim—how appropriate to read from it at a festival where the main theater is called “The Egyptian.”
But I was a “Boy Interrupted” (the title of a Sundance film that is building buzz – actually a tragic documentary about a teenager’s suicide). As I prepared to leave the Yarrow Hotel, I saw a sign for a “Shabbat at Sundance” dinner being held in a ballroom one floor away. I popped in and found 100 people eating a buffet dinner and singing Sabbath songs. In its third year, Mendel Schwartz of Los Angeles’ Chai Center helps to organize and host a Shabbat dinner which draws an extremely diverse group of Sundance Jews, Hollywood Jews, Jewish festival attendees and industry leaders. The kosher food and excessive amounts of wine had been trucked in by a Dallas, TX based kosher caterer. I am not one to kiss and tell, or pray and tell, so without mentioning names, at my table were two founders of the Palisades Park Film Festival, and three young filmmakers from New York City.
One highlight of the dinner, in addition to the Israeli-style rice, was my naiveté at sitting at another table and chatting with some participants, only later realizing that the man sitting next to me was the Jewish reggae star, Matisyahu.
As I got ready to leave after the Birkat haMazon, or grace after meals, one of the hosts approached me to ask me to be a tenth man the next morning at their condo minyan. Free cholent would be provided afterwards, they said. How could I resist? But seriously, I was and am a Jew at Sundance, and given the choice of seeing two films in the morning, or making a minyan, especially one where someone might need to say Kaddish, the choice was clear.
The next morning I hiked into the snowy mountain area and found the condo. It was many times nicer than mine, so I got to see the luxury that can be Park City (or what I, a guy who lives in a one-room studio in Manhattan, would consider luxury). Complete with a Torah supplied by Chabad of Salt Lake City, the worship service was unique. It occurred in the living room, facing east towards the fireplace, as out the window, snow boarders could be seen lining up for rides to the slope and nearby chair lifts. The Torah was read from the marble-topped kitchen island. Afterwards, without praying and telling, I was introduced to Matisyahu, once again; his wife, Tali, herself a nascent Jewish documentary filmmaker; Mendel Schwartz of The Chai Center; and Marc Erlbaum of Nationlight Productions, a new Jewish faith-based production company that hopes to reach mainstream audiences.
Nationlight—which had “Sundance” kippahs made up—is led by Erlbaum, who put together an experienced team of Jewish professionals to serve on his board. They include Michael Helfant, executive producer of “Iron Man,” and Doug Mankoff, producer of “Away From Her” and executive producer of Sandra Nettelbeck’s “Helen,” which stars Ashley Judd as a professor coming to terms with her clinical depression, and which screens in the Spectrum section at Sundance. “Nationlight will mingle Jewish wisdom with cutting-edge entertainment in order to highlight human potential, probe the difficult but essential questions of our existence, and inspire viewers to better themselves and their surroundings,” Erlbaum said. His initial films will include “The Good News,” about a man who sets out to launch a news broadcast that only reports positive stories.
A drash on Moshe was given by Noah BenShea, a writer who is known for his “Jacob The Baker” series of books. It fit in so well with the storytelling theme of Sundance 2009.
On Saturday evening, I headed over to The Egyptian Theater for the world premier of “Zion and His Brother,” an Israeli drama by Sundance Lab alumnus Eran Merav. The film opens with a scene of boys in Haifa playing soccer under an overpass. Zion, 14, is hunted down and attacked by Meir, 17, his older brother, wrestled to the ground and taken to a dentist. They live among the endless apartment blocks, vulnerably small and insignificant in the grander scene. Trains pass from Haifa to the center of the country, ignoring the people in this neighborhood. They are two brothers, perhaps like Jacob and Esau, forever struggling, with an estranged, absent, most likely imprisoned, father, and a struggling single mother desperate for love, on the poor side of town. It is the end of summer, hot and sticky, and the sun is drying out everyone and everything, spotlighting all events. Watching the film, I felt I was back in Israel, walking the steps of an apartment building, flicking the switch to light the interior steps, hearing the sounds of Zohar or Haim Moshe from behind apartment front doors.
When a schoolmate of Zion‘s, an even lower-class son of Ethiopian immigrants, an outsider among outsiders, is killed in an accident and the brothers are in some respects responsible, Zion must decide whether to keep the secret to himself or to take on a greater role of leadership in the family as their dysfunctional relationship descends even more into chaos.
Also screening was an Israeli short film by Michal Vinik. Unfortunately, the Sundance film guide listed Michal as a “Michael” and as a “he” instead of a she. Which was ironically appropriate, since her film, “Bait” is about a tomboy named Nitzan, living near Ashdod, who plans to go out for a day of fishing. Instead, she accompanies her sister—who takes a risk by hitchhiking to the beach in skimpy clothing. They are given a ride by a Filipino guest worker (played by Israeli-Filipino, Peter Somra) from a nearby moshav, who spends the afternoon with them swimming in the sea and more. Just what is Nitzan fishing for?
I must admit, my favorite film so far is not directly a “Jewish” one. It is “The September Issue,” a documentary by R. J. Cutler about the creation of the largest September issue of Vogue, and a profile of its editor, Anna Wintour. It will be a must-see for all 13 million readers of Vogue, anyone in fashion and fashion retailing, all garmento’s, runway models, fashion photographers and stylists. For all her cold glances and rudeness, I would work for Wintour in a heartbeat, albeit a fashionably styled heartbeat.
For more information, visit the Sundance site.