On August 15th of this year, the world was treated to a teaser from 'Maestro' (Bradley Cooper, 2023). The biopic focuses on the relationship between the American composer Leonard Bernstein and his wife Felicia Montealegre. It is set to hit the big screen on November 22nd and will be available on Netflix starting December 20th. This sneak peek has already stirred conversation due to its 'jewface' representation, where Bradley Cooper uses a prosthetic nose. This weekend, leading up to Remembrance Day on November 12, I will provide an overview of how Jewish storytelling has evolved throughout the years in Hollywood.
This public commotion is not without reason; 'Jewface' is a term that negatively characterizes stereotypical or inauthentic portrayals of Jewish people involving the use of makeup or alterations of features. In the case of the biopic, a non-Jewish actor (Bradley Cooper) appears to embody a Jewish stereotype. This term has recently gained prominence in debates about representation, appropriation, and the ethical considerations surrounding who has the right to depict whom in film, television, and on stage. However, this practice dates back to vaudeville acts in the early 20th century in the United States, coinciding with the immigration of Eastern European Jews to the country in the 1880s. non-Jewish performers would enact Jewish stereotypes, donning large putty noses, long beards, tattered clothing, and speaking with a thick Yiddish accent. The practice transcended the stages and found its way to the big screen with the arrival and popularization of cinema in 1894 in the United States.
Paradoxically, the Lower East Side served as the cradle of the film industry, founded by Eastern European Jews. As the American film industry migrated west, centring on Hollywood in California, many Jewish individuals played pivotal roles in its establishment. Jews were deeply engaged in various aspects of the film industry, from executives and producers to creatives such as directors, writers, and performers. The second generation of Jewish individuals supervised the controversial studio system, a popular business method prevalent from the early 1920s to the late 1960s, wherein Hollywood film studios controlled all aspects of their productions, including production, distribution, and exhibition. This encompassed the star system, a method involving the creation, promotion, and exploitation of stars in Hollywood films, with the management of publicity to stimulate demand for their films. It is worth noting that a significant number of the big six film studios, including Paramount Pictures, Fox, Warner Bros, and Universal Pictures, were founded, and run by Jews.
Antisemitism was pervasive in the United States, yet the film industry did not pose a barrier for Jewish individuals behind the scenes. Jewish studio heads, apprehensive about potential backlash, often avoided depicting ethnic Jewish characters in films, especially those related to the Holocaust. However, there were exceptions, such as in films like 'The Life of Emile Zola,' 'They Won’t Forget,' and 'The Great Dictator.' In the post-war period, films began featuring strong Jewish characters, while Jewish culture found representation in non-Jewish characters. For example, Yiddish was used by Native Americans in 'Cat Ballou' (Elliot Silverstein, 1965), and a black cabbie, portrayed by Godfrey Cambridge, showcased Jewish culture in 'Bye Bye Braverman' (Sidney Lumet, 1968). It's noteworthy that 'Gentlemen’s Agreement' (Elia Kazan, 1947) played a pioneering role in addressing post-war antisemitism in the United States. Additionally, as a consequence of the war, some individuals changed their ethnic names to sound less Jewish, including Emanuel Goldenberg (aka Edward G. Robinson), Issur Danielovitch Demsky (aka Kirk Douglas), and Nathan Birnbaum (aka George Burns).
In addition to the issues discussed on-screen, there have been challenges related to representation. Representation is crucial as it plays a significant role in creating a more inclusive, diverse, and equitable society. It empowers individuals, fosters empathy, and contributes to social progress. Authentic portrayal is essential in normalizing the Jewish experience in society, providing stories with greater genuine humanity. This, in turn, establishes a connection and alignment with spectators. Besides that, these generalizations negate the trailblazing contributions of all of them to the world.
At times, when a Jewish actor is cast to portray a Jewish character, Hollywood frequently demands the actor to express a subtle sense of moral discomfort and psychological unease about their Jewish identity. This portrayal often aligns with the stereotype of the edgy, neurotic misfit Jew, which has become synonymous with how Jews are depicted in film and television.
Actors who choose to disregard or casually dismiss antisemitic remarks, thereby reinforcing the harmful myth that Jews exaggerate the hatred they face, may find themselves cast in Jewish roles.
The portrayal of the Jewish mother stereotype is a recurring and widely employed trope utilized by comedians, television and film creators, actors, and authors, both within the Jewish community and beyond, in the United States and other regions. This stereotype typically depicts a mother who is persistent, vocal, manipulative, excessively talkative, overprotective, smothering, and domineering. She continues to interfere in her adult children's lives, skilfully inducing feelings of guilt for any actions perceived to have caused her distress, long after they have reached maturity. The Jewish mother stereotype can also encompass a portrayal of a loving and excessively proud mother who staunchly defends her children in front of others.
"La belle juive" ("the beautiful Jewess") was a literary stereotype prevalent in the 19th century. This character, characterized by specific physical attributes, was often linked to themes of sexual allure, temptation, and sin. The personality traits associated with the belle juive could be depicted in both positive and negative lights. The conventional image of this archetype included long, thick, dark hair, large dark eyes, an olive skin tone, and a languid expression.
The "Jewish-American Princess" (JAP) is a pejorative stereotype that depicts certain upper-middle-class Jewish women as spoiled and entitled. This stereotype, prevalent in contemporary US media since the mid-20th century, characterizes "JAPs" as individuals accustomed to privilege, materialism, and neurotic behaviour. According to this stereotype, these women are perceived as being overindulged by their parents with attention and wealth, leading to unrealistic expectations, feelings of guilt, and a talent for manipulating guilt in others. This dynamic is believed to result in a deficient love life. The stereotype further portrays the "JAP" as a sexually repressive, self-centred, materialistic, and lazy female, placing a significant emphasis on her indifference to sex. Relationships with supposedly weak men are also part of the narrative, suggesting that these men are easily controlled and willingly expend substantial resources in an attempt to recreate the dynamics of her upbringing. These men are characterized as content with catering to her constant demands for food, material possessions, and attention. This stereotype is sometimes the basis for jokes both within and outside the Jewish community.
The concept of the "Jewish lawyer" constitutes a stereotype of Jews, characterizing them, and Jewish lawyers in particular, as clever, greedy, exploitative, and dishonest. This stereotype also suggests engagement in moral turpitude and excessive legalism. Ted Merwin notes that the popularity of this stereotype in the United States surged in the mid-to-late 20th century as Jews began entering the legal profession. However, it's worth noting that Jews had been part of the U.S. legal profession for several decades before the mid-20th century, establishing themselves as lawyers even before the Great Depression. This stock character of the Jewish lawyer is a recurring theme in popular culture.
The "Nice Jewish Boy" (NJB) is a stereotype of Jewish masculinity that circulates within both the American Jewish community and mainstream American culture. Historically, Jewish men have been perceived as non-conforming to traditional notions of masculinity, particularly when contrasted with the more physically assertive masculinity associated with the Roman society from which Rabbinic Judaism emerged. In Jewish culture, emphasis is often placed on intellectual pursuits and academic endeavours over physical strength. However, it's important to note that Jewish masculinity has been subject to both internal and external stereotyping. In an antisemitic context, Jewish men have been unjustly labeled as effeminate, and there was even a historically debunked belief that Jewish men menstruated, a notion rooted in a misinterpretation of the practice of circumcision being equivalent to castration. The trope of the effeminate Jewish man has been used to assign feminine physical and mental traits to Jewish men, aiming to portray them as deficient in comparison to the prevailing ideal of masculinity. For instance, during the late 1900s, Jewish men were often depicted with characteristics traditionally associated with females, such as narrow chests, chubbiness, and hysteria.
With few exceptions, such as Barbra Streisand—arguably the lone Jewish superstar whose cultural identity, including her unwavering support for Israel, is given unrestricted expression in music, television, and film—Hollywood appears to possess an almost obsessive and near-pathological tendency to water down female Jewish characters or erase them altogether.
In the present era, acclaimed for its emphasis on diversity and inclusion both in front of and behind the cameras, this sentiment does not necessarily extend to the Jewish community or even with Hollywood support on antisemite stars like Mel Gibson. While there are notable figures such as Steven Spielberg, Stanley Kubrick, Woody Allen, Natalie Portman, Scarlett Johansson, Miriam Margolyes, Harrison Ford, Joaquin Phoenix, and Adam Sandler, many Jewish characters in films seem stuck in the past, particularly within the context of Nazi Germany in the 1930s and during World War II. It remains relevant to remember the genocide of the Holocaust to honour the memory of those affected. However, Hollywood narratives that consistently revisit this historical narrative often depict Jewish characters meeting untimely deaths as a punishment for their religion, even if such depictions align with historical accuracy. It's crucial to recognize that Jewish people are multifaceted and extend beyond this singular narrative.
It is crucial to acknowledge that such generalizations oversimplify and perpetuate harmful assumptions and misconceptions about a diverse group of people with numerous stories to tell. In a media-driven society, screens are powerful. We must remember them; we must remember they’re humans.
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