Wednesday, September 25, 2013

Still Foolin 'Em by Billy Crystal


Hardcover: 288 pages
Publisher: Henry Holt and Co. (September 10, 2013)

Actor-writer-director-comedian Billy Crystal has come to terms with growing older with the release of his laugh-out-loud memoir, Still Foolin' Em: Where I've Been, Where I'm Going, and Where the Hell Are My Keys?

Crystal was a long-time host of the Oscars but also starred in several films, a list of which would drag on for several paragraphs.

As he reached his 65th birthday, the comedian decides to look back on his life and career.  He also looks at the absurdities that come with aging, including growing conservative in politics.  When it comes to aging, nothing appears to be off-limits--including insomnia, memory loss, leaving dinners with half your meal on your shirt, sleeping at the movies, etc.  The comedian even offers advice to his fellow baby boomers.

Aside from Crystal's reflections on losing family members, this was a laugh-out-loud blast to read.  The comedian uses his trademark blend of wit and heart.  He takes us on a road traveled from Long Beach, Long Island, to starting out performing stand-up in the West Village, playing an openly gay character on Soap, and a short stint at Saturday Night Live.

Crystal offers a behind-the-scenes account of the making of When Harry Met Sally..., City Slickers, Mr. Saturday Night, and Analyze This.  He reflects on his nine times hosting the Oscars as well as his being a lifetime fan of the New York Yankees (and playing one day during spring training).

There's also his love affair with Sophia Loren, which she didn't know about, and his friendships with Mickey Mantle and Muhammad Ali.

Billy Crystal is an American icon and he gives it all in this poignant and funny memoir.

Sunday, September 22, 2013

An Open Letter to the Courier-Journal

On Thursday, I awoke to a disturbing sight.  The Courier-Journal changed designs again.  Unlike their last revamp, this was worse.

I don't even read the Features section any more.  All the pieces of the Buzz are already 3 days old by the time that they are printed--which is why I was forced to go elsewhere for all my TV and film news.  The CJ no longer reports when news media are leaving town for other stations--a shame.  I shouldn't have to depend on Facebook or Twitter to find out that someone is leaving a news station.

But back to the point of this open letter.  This new format?  It fucking sucks.  It's a piece of shit.

By combining the front page with the Metro section and placing an emphasis on LOCAL news, the front page is now nothing but a glorified Metro section--leaving readers to turn to online and cable networks to find out what is going on in the nation and the world.

I don't watch the cable networks except for MLB Network.  I can't even watch ESPN anymore without screaming at the TV because I'm tired of all their commentators screaming at me.

I don't like being told to check the CJ's mobile website for news.  I don't like reading news on my phone but it in this digital era, I don't have a choice.  Aside from the St. Louis Post-Dispatch, which I read the sports articles online anyway, the only things I read on my phone are, um, TV and film coverage.

What are the people with dumbphones supposed to do?  Borrow a friend's phone to read the news?

What about those of us who are Shomer Shabbas and don't watch TV or go online for 25 hours from Friday through Saturday?  How are we supposed to get our news?  Facebook?  Twitter?  Twitter only goes so far and I only check so many Facebook filters after Shabbas or a 3-day holiday weekend.

Having a Sunday or Monday column in the Metro used to be prestigious.  Now?  A column on A3 or A5 isn't the same.  Not by a long shot.

This isn't the answer.  Bring back the old format.  It wasn't the best in the world (lack of quality TV/Film coverage that isn't 3 days old by the time it gets printed) but at least national and world news got its due.

Wednesday, September 18, 2013

Book Review: The American Jewish Story Through Cinema


Hardcover: 264 pages
Publisher: University of Texas Press (April 15, 2013)

Better late to offer my review than never!  Eric Goldman takes a look back through time in The American Jewish Story through Cinema.  It's vastly different from Larry Epstein's American Jewish Films, which seeks to find a Jewish identity in the movies.

Cinema is just like books in that it is a medium of telling a story.  Through viewing films on the big screen, we gain an understanding of the social, political, and cultural realities of the Jews in America.  It's important to understand these realities.  In an industry dominated by Jewish moguls, there were those that fought against the making of Crossfire and Gentleman's Agreement, both released in 1947, for the fear that it would increase anti-Semitic attacks.  Leave it to Darryl  F. Zanuck, a non-Jewish mogul, to produce the latter of the two films.

It's because of the Jewish filmmakers and the evolving nature of the American Jewish condition that we see just how Jews have been reflected on the screen over the years.

Goldman's analyzed a select group of mainstream films from the era of The Jazz Singer all the way through Everything is Illuminated to get an understanding of the American Jewish experience during the 20th century.

It wasn't until later years when Jewish filmmakers were comfortable with depicting an American Jew or Israel on the big screen.  Eventually, the Shoah would have a large effect on the American Jewish identity.  Nowadays, American  Jewish screenwriters, directors, and producers have shown that they are comfortable with their heritage in the number of movies that display Jewish protagonists, experiences, and challenges.

In particular, Goldman examines The Jazz Singer, Gentleman's Agreement, Crossfire, The Young Lions, The Way We Were, The Prince of Tides, Avalon, Liberty Heights, and Everything is Illuminated.


These films play a large part in American Jewish identity, where we have been, and what we ought to do better when it comes to remembering.
Like the haggadah, the traditional “telling” of the story of the Israelites’ exodus from Egypt that is read at the Passover seder, cinema offers a valuable text from which to gain an understanding of the social, political, and cultural realities of Jews in America. In an industry strongly influenced by Jewish filmmakers who made and continue to make the decisions as to which films are produced, the complex and evolving nature of the American Jewish condition has had considerable impact on American cinema and, in particular, on how Jews are reflected on the screen. This groundbreaking study analyzes select mainstream films from the beginning of the sound era to today to provide an understanding of the American Jewish experience over the last century. - See more at: http://utpress.utexas.edu/index.php/books/golamr#sthash.bA9MEMqD.dpuf
Like the haggadah, the traditional “telling” of the story of the Israelites’ exodus from Egypt that is read at the Passover seder, cinema offers a valuable text from which to gain an understanding of the social, political, and cultural realities of Jews in America. In an industry strongly influenced by Jewish filmmakers who made and continue to make the decisions as to which films are produced, the complex and evolving nature of the American Jewish condition has had considerable impact on American cinema and, in particular, on how Jews are reflected on the screen. This groundbreaking study analyzes select mainstream films from the beginning of the sound era to today to provide an understanding of the American Jewish experience over the last century.
In the first half of the twentieth century, Hollywood’s movie moguls, most of whom were Jewish, shied away from asserting a Jewish image on the screen for fear that they might be too closely identified with that representation. Over the next two decades, Jewish moviemakers became more comfortable with the concept of a Jewish hero and with an overpowered, yet heroic, Israel. In time, the Holocaust assumed center stage as the single event with the greatest effect on American Jewish identity. Recently, as American Jewish screenwriters, directors, and producers have become increasingly comfortable with their heritage, we are seeing an unprecedented number of movies that spotlight Jewish protagonists, experiences, and challenges.
- See more at: http://utpress.utexas.edu/index.php/books/golamr#sthash.bA9MEMqD.dpuf
Like the haggadah, the traditional “telling” of the story of the Israelites’ exodus from Egypt that is read at the Passover seder, cinema offers a valuable text from which to gain an understanding of the social, political, and cultural realities of Jews in America. In an industry strongly influenced by Jewish filmmakers who made and continue to make the decisions as to which films are produced, the complex and evolving nature of the American Jewish condition has had considerable impact on American cinema and, in particular, on how Jews are reflected on the screen. This groundbreaking study analyzes select mainstream films from the beginning of the sound era to today to provide an understanding of the American Jewish experience over the last century.
In the first half of the twentieth century, Hollywood’s movie moguls, most of whom were Jewish, shied away from asserting a Jewish image on the screen for fear that they might be too closely identified with that representation. Over the next two decades, Jewish moviemakers became more comfortable with the concept of a Jewish hero and with an overpowered, yet heroic, Israel. In time, the Holocaust assumed center stage as the single event with the greatest effect on American Jewish identity. Recently, as American Jewish screenwriters, directors, and producers have become increasingly comfortable with their heritage, we are seeing an unprecedented number of movies that spotlight Jewish protagonists, experiences, and challenges.
- See more at: http://utpress.utexas.edu/index.php/books/golamr#sthash.bA9MEMqD.dpuf

Today in Jewish History: Tishrei 14

This was in the daily AISH email that I subscribe to.  The daily emails, not emailed on chag or Shabbas, include things that happen in Jewish history.  Today is the 14th of Tishrei, which happens to be the yahrzeit of Louis D. Brandeis

Today in Jewish History:
Tishrei 14 marks the death of Louis Brandeis (1856-1941), one of the most respected Supreme Court Justices in United States history. Brandeis was the first Jew to serve on the Supreme Court, a post he held for 23 years. His "Brandeis Brief" became the model for future Supreme Court presentations. He was known as "attorney for the people" who championed many social and economic reforms. Brandeis was also a leader of the American Zionist movement, heading the Provisional Executive Committee for Zionist Affairs during World War I. Today, the Univ. of Louisville Law School, as well as Brandeis University in Massachusetts, bears his name.

Sunday, September 01, 2013

Book Review: Dear Girls Above Me


Paperback: 288 pages
Publisher: Three Rivers Press (June 4, 2013)

Dear Girls Above Me comes from the creative mind of Charlie McDowell, a comedy writer and filmmaker.

As the book starts, McDowell has just been dumped by his girlfriend.  He's battling his landlord.  If it could not be any worse, he can hear everything being said by the two girls living above his apartment.  They talk about everything from Pilates to the Real Housewives.

After one of the girls complains that a guy named Chad has not responded to their texts, he takes to twitter after being inspired by a cable bill of all things.  McDowell starts to document all the unintentionally hilarious observations on his Twitter feed, which begins to amass an amount of followers.

In the process of sharing the girls' ditzy midadventures, Charlie learns about himself in the process.  What's more is that some of what they have to say comes in handy when he makes an attempt to reconnect with an old crush from school.

As the girls sign up for 8 AM pilates classes, Charlie is forced into a battle of the showers since they share the same water heater.

The book shares many of the one-sided conversations in which Charlie has drafted sarcastic responses to what hears through the ceiling.  His responses combined with the comments made upstairs are hilarious.

The twitter feed inspired CBS to order a sitcom pilot back in 2010.  Meanwhile Charlie is directing Elisabeth Moss, Mark Duplass, and Ted Danson in his directorial debut, The One I Love.

Charlie's book is laugh-out-loud funny.  Coming from someone that's heard the video games being played next door, I cam empathize with him.  Go buy and read this book.  You won't regret it!