Maurice Schwartz (1889-1960)

Born in Ukraine, died in Israel.

American Yiddish actor, scriptwriter, director, and producer.

Founder of the Yiddish Art Theatre in New York.

Played in countless theatrical productions in Yiddish and English, and in over twenty films, including Uncle Moses.

“The best of all Yiddish actors” (in the USA).

Uncle Moses (1932) Made in the USA.

First important Yiddish sound film in America.

Based on a novel by a Polish-American Yiddish writer, starring a Polish-American actor.

Polish-American Yiddish background and themes.

Uncle MosesWhat meanings does the name of the title

character create in the film?

What themes does the film tackle?

How is the conflict of the “old” and the “new” worlds is presented?

What role does the music play?

Yiddish Cinema in Poland

First Yiddish (silent) films produced in 1911. Ex., The Cruel Father (Der vilder Foter, dir. Andrzej Marek).

About 10 films made in 1911-12.

The first sound Yiddish film, For Sins (At Chejt, dir. Aleksander Marten) produced in 1936.

Yiddish Cinema in Poland Several production

companies.

Polish-American cooperation (ex., Joseph Green, director/producer).

Intended for international public (Yiddish speakers regardless of geographic location).

Yiddish Cinema in Poland Ups and downs in the

1920s-early 1930s (due to political and technological changes).

Input by Polish and German filmmakers.

Documentaries (ex., Sabra, dir. Aleksander Ford, 1932).

“The golden age” from 1936 to 1939.

Yiddish Cinema in Poland

Themes:• Conflict of old and new values

and/or generations;• Life in a shtetl;• Love; religion; traditional

beliefs.Genres: Musical comedy Melodrama Tragedy DocumentaryAesthetic sources: Theatre Yiddish literature Yiddish folklore Klezmer music European culture

Mamele (1938)Musical comedy.

Adaptation of a play by Meyer Schwartz that was a hit on Second Avenue in New York.

Polish-American co-production.

Directed by Joseph Green and Konrad Tom.

Starring Molly Picon.

Molly Picon (1898-1992)

American theatre and film star.

Had talent for singing, dancing, and acrobatics.

In the 1930-s, had a Broadway theatre of her name.

Specialized in roles of tomboys.

Joseph Green(Yoysef Grinberg, 1900-

1996) Polish-born American

actor, film director, script-writer, producer.

Studied and worked in Europe until 1925, when he moved to America.

While in Hollywood, conceived the idea of making Yiddish talking films.

Bought Yiddish-film rights in America and brought them to Poland.

“Father of the Golden Age” of Yiddish cinema

Joseph Green’sprinciples of filmmaking

Technical perfection and high quality of production;

High standards of acting;

The subject: Jewish yet universal;

Avoidance of stereotypes;

Purity of Yiddish language;

Elements of folklore and ethnography;

Authenticity of setting;

Humour and music.

Mamele Made on the brink of

World War II.

Shows the “Atlantis” of Polish Jewry before its disappearance.

The setting shifted from New York to Lodz(Poland). Local “flavour.”

Attempts of using modern cinematic techniques (ex., overlapping images).

MameleUrban setting;

Modern way of living: gentile clothes, young men without beard, uncovered married women;

Universal subject;

Influence of Hollywood musical comedies.

MameleCinderella story;

Yiddish cultural “flavour.”

The place of women in traditional culture.

Satirical take on idling men.

Strong women.

MameleSocial problems:

strikes, unemployment, gangsters.

Tradition and modernity: prayer replaced with games; a religious holiday vs nightclubs.