Development Site - Changes here will not affect the live (production) site.

The Jews of “Casablanca”

Feb. 16 2017

No small number of Jews, many from Central Europe, had a role in creating the classic film Casablanca. They included the identical twins Philip and Julius Epstein, the original screenwriters; Howard Koch, who replaced them; the director Michael Curtiz (born Mihaly Kertesz in Budapest); and Peter Lorre (born Laszlo Löwenstein in what is now Slovakia) who played the fixer Ugarte. Reviewing a recent book about the movie, titled We’ll Always Have Casablanca, David Mikics writes:

The movie Casablanca is full of Jewish-refugee actors, as the actual Casablanca was full of refugee Jews, stuck in “unoccupied France” after the fall of Paris and trying to escape to the New World via Portugal. But the word “Jew” never appears in the film: America’s war effort depended on Americans not thinking that they were fighting, even in part, on behalf of European Jews. Indeed, in 1943 a substantial number of Americans still blamed the Jews for the war, just as Hitler did.

One of the most colorful of the refugees was Yani “Cuddles” Sakall, who plays Carl the waiter, bumbling and kindhearted, the movie’s equivalent of a Borscht Belt tummler. Sakall was a native of Budapest and a friend of Curtiz from Vienna in the 1920s. On arriving in Los Angeles, he was at first anxious about not knowing English, but to his pleasant surprise he found himself surrounded by fellow Hungarian speakers who had fled from Hitler. A joke was making the rounds: Hungarians would be reminded that “this is Hollywood; here we speak German!”

Another joke was circulating, based on the émigrés’ sometimes-exaggerated claims for themselves: two dachshunds run into each other on Hollywood Boulevard, and one says to the other, “In the old country, I, too, was a St. Bernard.” Lotte Palfi, who appears briefly in Casablanca as a woman desperately trying to sell her diamonds, subtitled her autobiography I Was Never a St. Bernard.

Read more at Tablet

More about: American Jewish History, Arts & Culture, Film, Hollywood, Refugees, World War II

 

The Summary: 10/7/20

Two extraordinary events demonstrate something important about Israel’s most fervent adversaries. One was a speech given at something called The People’s Forum (funded generously by Goldman Sachs), which stated, “When the state of Israel is finally destroyed and erased from history, that will be the single most important blow we can give to destroying capitalism and imperialism.”

The suggestion that this tiny state is the linchpin of a global, centuries-old phenomenon like capitalism goes well beyond anything resembling rational criticism. Even if Israel were guilty of genocide, apartheid, and oppression—which of course it is not—it would not follow that its destruction would help end capitalism or imperialism.

The other was an anti-Israel protest that took place in front of New York City’s Memorial Sloan Kettering Cancer Center, deemed “complicit” in Israel’s evils. At organizers’ urging, participants shouted their slogans at kids in the cancer ward, who were watching from the windows. Given Hamas’s indifference toward the lives of Gazan children, such callousness toward non-Palestinian children from Hamas’s Western allies shouldn’t be surprising. The protest—like the abovementioned speech—deliberately conveyed the message that Israel is the ultimate evil and its destruction the ultimate good, cancer patients be damned.

The fact that Israel’s adversaries are almost comically perverse does not mean that they can be dismissed. If its allies fail to understand the obsessive and irrational hatred that it faces, they cannot effectively help it defend itself.

Read more at Mosaic