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Eric A. Goldman
 
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‘A hero for 2012’ who died in 1976

Producers on why Entebbe film focuses on Yoni Netanyahu

Published: 17 May 2012

On June 27, 1976, Air France Flight 139 was hijacked in a joint operation by the Popular Front for the Liberation of Palestine and the German Revolutionary Cells. After a stopover at Benghazi Airport in Libya, the French Airbus was flown to Entebbe Airport in Uganda. Almost immediately, the Israeli government began planning a rescue mission in case negotiations failed. There were 248 passengers and 12 crew members being held hostage. At Entebbe, the hijackers separated Jews from non-Jews, freeing the latter (although several passengers chose to stay with the Jews, as did the Air France flight crew). On July 4, 1976, there were 105 hostages remaining as the hijackers prepared to begin executing one hostage every half-hour until their demands were met.

It was at about that moment that Israeli commandoes — having flown 2,500 miles under enemy radar and through powerful storms — broke into the building where the hostages were being held and rescued all but three of them. The elite commando unit that led the rescue, Sayeret Matkal, was under the command of Lt. Col. Yonatan Netanyahu. He was the sole IDF casualty that day.

 
 

What does Oscar know?

‘Footnote’ is a film to watch over and again

FilmPublished: 09 March 2012

Footnote defined: a piece of information, sometimes an anecdote, that is not necessarily verifiable, sometimes even outrageous, or silly, often only remotely relevant to the main text, but at the same time it is just too irresistible and juicy to leave out entirely; a Talmud researcher to filmmaker Joseph Cedar.

Just like a page of Talmud, Joseph Cedar’s new Israeli film “Footnote” is layered with various references and underlying footnotes. If you understand them, then it is just that much more fun and challenging, and a reason to watch the film a second or third time to delve even deeper. If you do not notice these visual and aural references, it matters not, because you will still find this a powerful film and quite the masterpiece. About how many films today can one say that? Joseph Cedar has hit a home run on this, his fourth feature film, even though he failed a second time to take home an Oscar.

 
 

Exclusive pre-Oscar interviews

Joseph Cedar: Searching for a non-existent harmonious middle

WorldPublished: 24 February 2012

Award-winning writer/director Joseph Cedar discusses His Oscar-nominated “Footnote” with The Jewish Standard’s film critic, Eric Goldman. The film is nominated for “Best Foreign Language Film” at Sunday’s Academy Awards. It won the Ophir Award in Israel for “Best Picture” and “Best Director,” and took “Best Screenplay” at the Cannes Film Festival.

“Footnote” tells the tale of a great rivalry between a father and son. Eliezer and Uriel Shkolnik are eccentric professors who dedicated their lives to their work in talmudic studies. The father, Eliezer, is a stubborn purist who fears the establishment and has never been recognized for his work. His son, Uriel, is an up-and-coming star in the field, who appears to feed on accolades, endlessly seeking recognition.

 
 

Exclusive pre-Oscar interviews

Joseph Cedar: Searching for a non-existent harmonious middle

FilmPublished: 24 February 2012

Award-winning writer/director Joseph Cedar discusses His Oscar-nominated “Footnote” with The Jewish Standard’s film critic, Eric Goldman. The film is nominated for “Best Foreign Language Film” at Sunday’s Academy Awards. It won the Ophir Award in Israel for “Best Picture” and “Best Director,” and took “Best Screenplay” at the Cannes Film Festival.

“Footnote” tells the tale of a great rivalry between a father and son. Eliezer and Uriel Shkolnik are eccentric professors who dedicated their lives to their work in talmudic studies. The father, Eliezer, is a stubborn purist who fears the establishment and has never been recognized for his work. His son, Uriel, is an up-and-coming star in the field, who appears to feed on accolades, endlessly seeking recognition.

 
 

Exclusive pre-Oscar interviews

Agnieszka Holland: Showing audiences the complexities of hate

Local | WorldPublished: 24 February 2012

Award-winning Polish-born director Agnieszka Holland discusses her Oscar-nominated “In Darkness” in this interview with The Jewish Standard film critic Eric Goldman. The film is nominated for “Best Foreign Language Film” at this year’s Academy Awards. It is one of two nominees with a Jewish theme.

Holland has tackled Jewish themes in many of her films. She wrote Andrzej Wajda’s film, “Korczak,” about Janusz Korczak, the celebrated educator and author of children’s books who was murdered by the Nazis.

Her films include “Angry Harvest” and “Europa, Europa,” which was nominated for a best screenplay Oscar. Holland’s family’s personal story could be a movie itself. She currently works largely in Hollywood.

“In Darkness” is a dramatization of the rescue in 1943 of Jews by Leopold Socha in the Lvov ghetto and their subsequent survival in the sewers where they hid. It is a powerful story, with superb performances.

 
 

Exclusive pre-Oscar interviews

Agnieszka Holland: Showing audiences the complexities of hate

FilmPublished: 24 February 2012

Award-winning Polish-born director Agnieszka Holland discusses her Oscar-nominated “In Darkness” in this interview with The Jewish Standard film critic Eric Goldman. The film is nominated for “Best Foreign Language Film” at this year’s Academy Awards. It is one of two nominees with a Jewish theme.

Holland has tackled Jewish themes in many of her films. She wrote Andrzej Wajda’s film, “Korczak,” about Janusz Korczak, the celebrated educator and author of children’s books who was murdered by the Nazis.

Her films include “Angry Harvest” and “Europa, Europa,” which was nominated for a best screenplay Oscar. Holland’s family’s personal story could be a movie itself. She currently works largely in Hollywood.

“In Darkness” is a dramatization of the rescue in 1943 of Jews by Leopold Socha in the Lvov ghetto and their subsequent survival in the sewers where they hid. It is a powerful story, with superb performances.

 
 

Year of the documentaries

Non-fiction among the best bets at 21st annual film festival

FilmPublished: 13 January 2012

It is time again to bundle up and go out to explore the world of Jewish cinema. The New York Jewish Film Festival is now under way at Lincoln Center. This year, it offers 35 films from 11 countries, many never again
to be seen in our area. The festival continues through Jan. 26.

Over the years, most audiences have been more interested in the narrative films that have been the hallmark of this festival, as have I. Of late, however, we are seeing more — and better — Jewish film documentaries. This year, I am more impressed by them than the fiction films. Most are significant and worthy of consideration.

Of course, a documentary film may not draw a viewer in the way a “regular” theatrical work will do. There are no known actors, no magnificent sunsets, no plot twists, no dramatic climaxes, no surprise endings. Nevertheless, these films are worth seeing.

 
 

A ‘Debt’  worth paying for

FilmPublished: 02 September 2011

For a long time, spy films typically were not part of the Israeli cinema repertoire. Israelis, it seems, avoided films with intelligence themes, perhaps because putting them on the big screen made Israelis somewhat uncomfortable.

American and European moviemakers have had fewer reservations; for them, the Israeli spy thriller is an attractive one. Over the last 30 years, they have given us a John le Carré adaptation (“Little Drummer Girl,” 1984); the story of Israeli spy Elie Cohen, who reached the highest levels of influence in Syria (“The Impossible Spy,” 1987); and Steven Spielberg’s story of those who avenged the Munich Olympic Massacre (“Munich,” 2005), to cite just a few. All of these films tackled the deep divisions between Israelis and Arabs, and the attempt by Israel to assassinate or spy on some “bad” Arabs of importance.

 
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French Jewishness is key to understanding Gainsbourg film

FilmPublished: 26 August 2011

Attempting to paint the story of a life on the canvas of cinema is no easy task, even for French comic book artist Joann Sfar. What Sfar brings to cinema is an appetite for maximum utilization of the arts and the presentation of biography in as different and non-linear a fashion as possible. The subject of Sfar’s film is Serge Gainsbourg, a singer, artist, and composer who is probably best known here for writing and recording the late 1960s song “Je t’aime ... moi non plus” (I love you … me neither). The sexually charged song, complete with heavy breathing and X-rated lyrics, was banned in several countries and caused quite a stir when Gainsbourg and actress and lover Jane Birkin recorded it. Anyone who was older than 5 at the time remembers this song and how it filled the airwaves.

 
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Critic’s notebook:  ‘A warm and special evening’

Music | TheaterPublished: 05 August 2011

I had a chance to see Jake Ehrenreich in “A Jew Grows in Brooklyn” at the Queens Theatre in the Park and was pleasantly surprised by a delightfully entertaining evening. Ehrenreich, in his one-man show, tells his life story of growing up as the first American-born child of Holocaust survivors. He recounts stories of vacationing with other “griner” families, working the Catskill resorts, and trying his talents in the world of rock.

 
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