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A new feature film retells William Shakespeare’s ‘Romeo and Juliet.’ In Yiddish.
Aptly titled ‘Romeo and Juliet in Yiddish,’ it’s been screened for enthusiastic audiences in London and Berlin, cheap five fingers , where it won the audience favorite award at the Berlin Jewish Film Festival.
On Sunday, January 16, the movie has its U.S. debut at Lincoln Center as part of the New York Jewish Film Festival. The film stars first-time actors who left their close-knit Chasidic communities in Brooklyn.
It began in 2006 when director Eve Annenberg stumbled upon Chulent, a weekly gathering of edgy Orthodox and formerly Orthodox Jews. Annenberg, a secular Jew who lives in Manhattan, was very much taken with the Chasidic garb, which struck her as Shakespearean, and the sound of people speaking in Yiddish, the language of her grandparents.
‘Hearing Yiddish spoken natively by very young people ‘ it’s absolutely exhilirating,’ Annenberg said. ‘It doesn’t matter if you don’t speak Yiddish. I don’t speak Yiddish.
The director got a group of young men who left the Satmar community in Williamsburg to translate Shakespeare’s play into Yiddish, which took a year. Over the course of that time, Annenberg was greatly entertained by the stories of two of the dropouts, who lived in a van and engaged in such ‘youthful hijinx’ as marijuana smuggling, credit card fraud and fabricating lost baggage claims at airports.
‘It was really cinematic, funny stuff,’ Annenberg said. ‘And I thought, ‘Wow! We can use all this. This is great. Let’s share this. Let’s put it up on the screen. Let’s tell it now.”
Mendy Zafir was about 17 when he left Satmar. He has a face that’s been described as angelic. Today, Zafir is 26 and runs a marketing business in Boro Park that serves the Orthodox community. He still remembers those first weeks and months away from Satmar without any marketable skills, unable to speak English.
‘I once slept on the subway for a month with a friend of mine, and I use to sleep in a van with Lazer,’ he said of his friend Lazer Weiss, who also stars in the film.
Those days living in a van are recreated in the film.
In one scene they are lying down on makeshift beds in the van when a call comes in. Would they like to work on a translation of ‘Romeo and Juliet’ into Yiddish?
Weiss asks if the woman who they would work for has food, chocolate or weed.
Isaac Schonfeld, who coordinates the Chulent gatherings, said the young actors in the film who left the religious life are traveling down an arduous path.
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‘You’re leaving community, you’re leaving family, you’re leaving friends, you’re leaving ritual, you’re leaving comfort,’ he said at one of the late night Chulent parties. ‘I mean, if you want to make someone insane right quick, take away all those things.’
The young men and women in the film grew up in chasidic households with no TV. They never went to the movies until they left home. Despite their deprivation of the pop culture staples, a couple of them show real promise as actors, according to Eve Shapiro, abercrombie uk , an acting teacher at Julliard who coached them. She was charmed by Weiss and Zafir, who play Romeo and Benvolio, respectively.
‘They have charisma and that’s something you cannot teach. You either have it or you don’t,’ said Shapiro, who trained British actors Alan Rickman and Jonathan Pryce at the Royal Academy of Dramatic Art in London.
In Annenberg’s cinematic retelling of ‘Romeo and Juliet,’ the warring Montague and Capulet clans bear a distinct resemblance to the Satmar and Lubavitch Chasidic sects, the character of Friar Lawrence has been transformed into Rabbi Lawrence and Juliet’s famous ‘Wherefore art thou?’ soliloguy is delivered from a Brooklyn fire escape.
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There’s a brief bit of nudity in a scene in which Romeo and Juliet are seen through gauzy fabric romping in bed. Such material would be problematic for observants Jews, who observe tznius, or sexual modesty. A post on an Orthodox Jewish woman’s Web site, imamother.com, referred to the movie as a chillul ha shem, a desecration of God’s name. Actor Lazer Weiss, who plays Romeo, bristles at such talk.
‘This is not a chillul ha shem. This is something beautiful,’ Weiss said. ‘And if you don’t get it, call me up and discuss it with me. But chillul ha shem doesn’t make any sense because it’s not even close to what we trying to do here.
Malky Weiss, who plays Juliet and grew up in a Satmar family in Boro Park, has six sisters and at least one will see the film at Lincoln Center.
‘One sister for sure and another sister might come see it, polo shirts ,’ Weiss said. ‘I don’t want anyone else to come see it. They would just get angry and not really get the movie.
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Weis fell in love with Lazer Weiss, the actor who plays Romeo, during the making of the film. They’re now living together in the so-called hipster section of Williamsburg and working on a screenplay of their own. It’s a comedy about the clash of hipsters and Chasidim in their neighborhood.
Director Eve Annenberg hopes to film another Shakespearean classic in Yiddish this summer.
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Cinematographer Sean Babbitt and production designer Judy Becker have combined with McQueen’s evocative, mostly nocturnal use of Manhattan locations to create a luxuriously appointed but impersonal, borderline rancid world in which the characters’ noxious traits can stew and fester. It’s all as jolting as a strong whiff of ammonia.
Driven by a brilliant, ferocious performance by Michael Fassbender, Shame is a real walk on the wild side, a scorching look at a case of sexual addiction that’s as all-encompassing as a craving for drugs. Steve McQueen’s second feature, after his exceptional debut with Hunger in 2008, may ultimately prove too psychologically pat in confronting its subject’s problem, but its dramatic and stylistic prowess provides a cinematic jolt that is bracing to experience. This sexually raw film will stir considerable excitement among critics and serious audiences, making it an attractive proposition for an enterprising distributor in the wake of festival play in Venice, cheap coach purses , Telluride, Toronto and New York.
His visual arts background evident in the bold widescreen framing and the way its protagonist’s world is defined, McQueen wastes no time defining what drives Brandon (Fassbender), a 30ish New Yorker whose life is stripped of any unnecessary accoutrements or distractions. With music employed to grandiose, sensual effect, he compulsively masturbates, eyes prey in the subway and stealthily manages to nail the sexy girl his madly gregarious boss David had been fancying all evening at a group outing.
Handsome as the devil, immaculately groomed and outwardly polite, Brandon is also the picture of coldness, with hard eyes and a terrible anger inside that presumably can only be calmed and held at bay through constant sexual release. He’s a cousin of American Psycho, although no killer.
Returning to his sparely decorated, personality-devoid apartment late at night, he is dismayed to find a wreck of a young woman in his bathroom. At a glance unstable, neurotic, needy and silly, Sissy evidently wouldn’t be here if she had anywhere else to go and Brandon cannot disguise his annoyance with her disruption of his stripped down, carefully compartmentalized world.
But, as it develops, she’s his sister. They have nothing in common except what can only be an awful shared family history, jordan high heels , which is left to the imagination. For Brandon, it is disturbing even to be reminded of this, let alone be forced to share in Sissy’s current distress. All the same, she pulls it together to perform in a local boite, and Mulligan’s heretofore unknown vocal abilities are revealed in a rendition of “New York, abercrombie sale , New York” that, protracted nearly to the breaking point, is nearly as excruciating as it is exquisite.
But Brandon flips out when he discovers Sissy with the married David, who upbraids his employee for the huge porn collection he’s found on his work computer. His carefully constructed world cracking surprisingly easily, Brandon goes through the motions of attempting a proper, polite date with an interesting woman, Marianne, but Brandon can’t hack it, literally or figuratively. Instead, he descends into a sexual abyss that enters Gaspar Noe territory, including an amazingly filmed, erotically charged three-way.
Given the boldness of Shame in its aesthetic approach, blunt sexuality, graphic nudity and sometimes exalted musical overlays, it’s a bit of a letdown to sense that McQueen and his co-screenwriter Abi Morgan ultimately present Brandon as something of a case study in sexual aberration due to stunted emotional growth stemming from a troubled upbringing. For a film so otherwise out-there, such a formulation feels too redolent of traditional psychoanalytical explanations for what society perceives as wayward behavior. The writers surely have their reasons for going this route, but for Shame to have been as thematically forthright as are its style and lead character, it arguably would have needed to just let Brandon be what he is, take it or leave it.
Be that as it may, Fassbender is incredible, capping a year which has also done exceptional work in X-Men: First Class and, especially, A Dangerous Method, which is hitting the festival circuit simultaneously with “Shame.” It’s amazing that it has taken him this long to be fully recognized, as he’s got it all: Looks, authority, physicality, command of the screen, great vocal articulation, a certain chameleon quality and the ability to suggest a great deal within while maintaining outward composure, just for starters. Whether he becomes a real movie star is another matter but, when it comes to pure acting skill and potential, it’s possible that Daniel Day-Lewis now has a young challenger.
Exposing herself emotionally and physicly as she never has before, Mulligan is terrific in this unexpected role of a deeply wounded and troubled soul.