Good people, like those who, under license from upstart populism, were recently able to dock their warships in the South Atlantic so that members of the Revolutionary Guard could come and get a cool tan in Copacabana. Fueled by autocrats and sponsored by pseudo-democratic theocracies. Since the 1930s, this number of terrorist acts against Jewish people and institutions around the world has not been recorded. Most likely the term “film” is chronologically untenable, but it will be retained since unsustainability can, in some souls, produce inexplicable glee.Īntisemitic attacks grow around the world, from New York to New Zealand, the number of hate crimes and speeches that mix xenophobia and mythomaniac theses exploded, culminating in a disturbing record. But the subtext addressed in that film was less to show the world the peculiar precarious condition of the Jewish populations and their strange unmotivated happiness, and much more to show the tiresome, boring and abject repetition of the Judeophobic and anti-Semitic persecutions, apparently incurable vices of humanity. “Tevye” was his character, of apparent simplicity like everything that refers to a panoramic and unidimensional analysis, opened to the world an unprecedented perception: he portrayed the way in which Jews lived in their stetl (ghettos) in Eastern Europe in the 19th century, in a dimension that encompassed the peculiar humor, the aesthetics of customs and mainly the innate musicality of a nation of absolute ears. For Topol, the lead actor in “Fiddler on the Roof” (1934-2023)Īctor Chaim Topol died yesterday, aged 84, who played in the iconic, stereotypical, brilliant, reductionist, wonderful film referred to above.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |