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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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As with his does-what-it-says-on-the-tin previous film ‘Conversations with my Gardener’ Becker whips up a friendly dialogue between two characters who are unconcerned with what society might say about their pairing. There is a sweet chemistry between Depardieu and Casadesus but their wry interactions are lost within a rambling frothy non-story that aims squarely for the heart over the head. A score of comic reliefs fill out much of the supporting cast their main function being to comment on Germain’s late blossoming in case we’d missed it. It’s harmless fun for sure but Becker takes that remit as justification not to delve too deeply into the forms of depression and loneliness that can’t be relieved by say a heart-to-heart with a cat or ‘ as is often the case ‘ ‘encore un petit verre de vin blanc!’
A gentle film about an unlikely friendship between the oafish bumbling tradie Germain and the elderly elegant academic Margueritte.
This French film doesn’t so much ladle on the syrup as pressure-hose it towards anything and anyone within the frame. Jean Becker’s twee Gallic two-hander sees odd-jobbing rube Germain (G’rard Depardieu looking like a hay bale in dungarees) receive a series of literary life lessons from little old lady Margueritte (95-year-old Gis’le Casadesus) who he meets while counting pigeons in the park. Bullied by his friends and his mildly daffy mother Germain overcomes his grim lot with a bit of hasty self-education and a newfound love and understanding of the written word. It’s basically ‘Educating Rita’ if Rita were French rotund and Forrest Gump.
As with his does-what-it-says-on-the-tin previous film ‘Conversations with my Gardener’ Becker whips up a friendly dialogue between two characters who are unconcerned with what society might say about their pairing. There is a sweet chemistry between Depardieu and Casadesus but their wry interactions are lost within a rambling frothy non-story that aims squarely for the heart over the head. A score of comic reliefs fill out much of the supporting cast their main function being to comment on Germain’s late blossoming in case we’d missed it. It’s harmless fun for sure but Becker takes that remit as justification not to delve too deeply into the forms of depression and loneliness that can’t be relieved by say a heart-to-heart with a cat or ‘ as is often the case ‘ ‘encore un petit verre de vin blanc!’
A gentle film about an unlikely friendship between the oafish bumbling tradie Germain and the elderly elegant academic Margueritte.
Germain (Gerard Depardieu) is a simple Frenchman who has his simple pleasures – his friends at the cafe his garden and his girlfriend Annette (Sophie Guillemin). Netwebsite.In Is A Free Movies Website Where You Can Netwebsite.In Is A Free Movies Website Where You Can Watch_My_Afternoons_with_Margueritte_movie_Online
He has always considered himself stupid due to his struggles with reading and his mother and teachers do nothing to dispel this impression as he’s growing up. Germain makes a living selling veggies from his garden and doing odd jobs but just scrapes a living together and lives in a trailer in his abusive mother’s backyard
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Eventually, Martin Scorsese and Thelma Schoonmaker had finished editing a final cut of this film (with Lonergan approved the cut)., and Fox Searchlight Pictures will open this film in theUnited States on September 30, 2011.
The story revolves around a 17-year-old New York City high school student named Lisa Cohen (Anna Paquin), who may have contributed to a bus accident in Manhattan’s Upper West Side. Lisa’s mother, Joan (played by Lonergan’s wife, J. Smith-Cameron), is a single mom grappling with parenting and her acting career. A sexually active teen, Lisa inappropriately flirts with one of her teachers (Matt Damon) while arguing with her classmates about the Middle East. Lisa ultimately becomes involved in a legal action against the bus operator (Mark Ruffalo). The film’s title comes from the Margaret in the poem “Spring and Fall: To a Young Child” by 19th century poet Gerard Manley Hopkins, briefly alluded to in one of Lisa’s classrooms.
A 17-year-old New York City high-school student feels certain that she inadvertently played a role in a traffic accident that has claimed a woman’s life. In her attempts to set things right she meets with opposition at every step. Torn apart with frustration, she begins emotionally brutalizing her family, her friends, her teachers, and most of all, herself. She has been confronted quite unexpectedly with a basic truth: that her youthful ideals are on a collision course against the realities and compromises of the adult world.
But, that may be changing within the next seven months. Speaking to IndieWIRE, producer Gary Gilbert said that the movie would be making its way to theaters by the end of this year. That’s a pretty big deal; when the thing was shot, we were all younger men and women, in a world where things like HD televisions and high-speed internet were luxuries. To me, the idea that it’ll be coming out before the year is done kind of blows my mind.
Saying that it was “still in litigation,” he also revealed that Scorsese’s longtime editor Thelma Schoonmaker is currently working with the two of them to get the thing down to a shorter cut. He also added that it’s “a great movie with great performances,” but he’s the producer, so him saying something to that degree shouldn’t come as a surprise of any sort.
What really surprised me was him basically saying that the whole process isn’t something that he regrets. He said that if he “knew the same facts,” he would “do it again.” To expand upon that sentiment, he stated “We had all the right ingredients. There’s no way to predict how things go wrong.”
I hope that this does in fact see a release this year, but I am just a little wary about it not necessarily being the version that Lonergan wanted to come out. I’m someone who sides with the filmmaker almost 99% of the time when it comes to who wants a movie to turn out a certain way, and this isn’t an exception. When you have many people (including Scorsese himself) calling it a “masterpiece,” the answer should be obvious: keep it the way it already is.
I trust the two outsiders coming in to craft something good, but it would be naive of me to not consider the idea that they’ll be making something good out of a work that was already great. By trying to remain positive, I’ll at least say that it’s good to know that the film will be getting a release in the near future. I just hope that it’s how it was all originally planned.