{"id":66049,"date":"2021-10-24T17:07:07","date_gmt":"2021-10-24T17:07:07","guid":{"rendered":""},"modified":"2021-10-24T17:07:07","modified_gmt":"2021-10-24T17:07:07","slug":"the-french-dispatch-is-wes-andersons-most-jewish-film-yet","status":"publish","type":"post","link":"https:\/\/harissa.com\/news-wp\/the-french-dispatch-is-wes-andersons-most-jewish-film-yet\/","title":{"rendered":"\u2018The French Dispatch\u2019 is Wes Anderson\u2019s most Jewish film yet"},"content":{"rendered":"

\u2018The French Dispatch\u2019 is Wes Anderson\u2019s most Jewish film yet<\/p>\n

\n
By Gabe Friedman<\/span><\/span><\/div>\n<\/div>\n
\n
\n
<\/div>\n<\/div>\n<\/div>\n

(JTA) \u2014 Jewishness has been at the fringes of several of Wes Anderson\u2019s movies, but the famed director has never had an explicitly Jewish main character \u2014 until now.<\/p>\n

In \u201cRushmore,\u201d one of the non-Jewish director\u2019s breakout works, the lead role is played by Jewish actor Jason Schwartzman, while the Tenenbaums of \u201cThe Royal Tenenbaums\u201d are heavily inspired by the (likely) Jewish Glass family members, who show up throughout Jewish author J.D. Salinger\u2019s stories.<\/p>\n

Though the Whitmans, another wealthy and disaffected New York clan who feature in \u201cThe Darjeeling Limited,\u201d aren\u2019t Jewish, two of the Whitman brothers are played by Jewish actors \u2014 Schwartzman and Adrien Brody. Then there was \u201cThe Grand Budapest Hotel,\u201d which was based on the writings of Stefan Zweig, a Jewish novelist who fled Europe during the Holocaust.<\/p>\n

Anderson\u2019s latest film, \u201cThe French Dispatch\u201d \u2014 which hits theaters Friday, over a year after its originally planned release date thanks to the pandemic \u2014 is his most Jewish work to date.<\/p>\n

The movie, openly inspired by Anderson\u2019s nearly lifelong love of The New Yorker magazine, concerns the European outpost of a fictional Kansas-based newspaper, whose American expat writers channel the New Yorker\u2019s highbrow sensibility (often in very humorous fashion). The film is split into four sections, each following a different writer in pursuit of a different story for The French Dispatch of the Liberty, Kansas Evening Sun.<\/p>\n

One of the chapters focuses on an explicitly Jewish character. Another features a protagonist loosely based on a Jewish student who helped lead the widespread protests in France in May 1968. And some of Anderson\u2019s imagined journalists throughout the film are based at least in part on real Jewish ones who wrote for The New Yorker.<\/p>\n

Taken as a whole, Jewishness and Jewish intellectual history is woven intricately throughout the film, on the fringes no more.<\/p>\n

The son of a Jewish Mexican horse rancher<\/strong><\/p>\n

The first of the film\u2019s three larger sections tells the story of Moses Rosenthaler, an incarcerated artistic genius played by Benicio del Toro. His story is narrated by French Dispatch writer J.K.L. Berensen (Tilda Swinton), a character who Anderson told the real New Yorker last month channels the voice of real-life Jewish playwright and journalist S.N. Behrman.<\/p>\n

While narrating a presentation on Rosenthaler\u2019s life and work, Berensen tells an audience that the artist is the son of a Mexican Jewish horse rancher, but does not get much more in-depth than that. Still, Rosenthaler could be Anderson\u2019s first clearly stated Jewish character. Of his background, Berensen knows that his family was wealthy, and that he was very psychologically unstable \u2014 on that point, she explains the gruesome murder that leads him to jail.<\/p>\n

Those attuned to the politics of representation on screen and the \u201cJewface\u201d debate might notice that young Rosenthaler is played by Tony Revolori, of \u201cGrand Budapest Hotel\u201d fame, who is Guatemalan. Del Toro is Puerto Rican. Neither is Jewish \u2014 but Jewishness does not play a key role in Rosenthaler\u2019s character or story. The plot of the Rosenthaler chapter focuses on the artist\u2019s relationship with one of the prison guards, who becomes his model, inspiration and muse.<\/p>\n

Rosenthaler\u2019s talents with a paintbrush are noticed by fellow prisoner Julien Cadazio, a scheming art dealer played by one of Anderson\u2019s clear favorites, Adrien Brody. When Cadazio finishes his prison sentence, he successfully markets one of Rosenthaler\u2019s works to the high art world, sparking international interest in the jailed painter \u2014 and, at least in his own view, helping to usher in what seems to be the Picasso-era genre of 20th-century abstract art.<\/p>\n

Anderson based Cadazio on the influential art dealer Joseph Duveen, who grew up in England the son of a Dutch Jewish father, and who was the subject of a six-part series written by Behrman in 1951. And to spin the web of Jewish figures from history even further, Duveen worked with an art historian named Bernard Berenson (does that surname sound familiar?), a Lithuanian-born Jew, to authenticate many of the works he sold. Duveen courted controversy in his day by attempting to forge works \u2014 but Berenson\u2019s involvement and motives were less clear, as biographer Rachel Cohen wrote in The New Yorker in 2012.<\/p>\n

Another fun Jewish tidbit from the Rosenthaler chapter: Jewish actors Bob Balaban and Henry Winkler play two of Cadazio\u2019s uncles, in deadpan fashion.<\/p>\n

The revolutionary<\/strong><\/p>\n

The film\u2019s second main chapter is based on France\u2019s unrest of May 1968, a famous month of anti-capitalist riots and strikes that rattled most of French society and shut down large portions of the country\u2019s economy.<\/p>\n

The protests were largely spurred by students, and one of the movement\u2019s real-life student leaders was Daniel Cohn-Bendit, whose Jewish parents fled Germany for France in the 1930s.<\/p>\n

clearly inspired by Cohn-Bendit \u2014 albeit one with the non-Jewish Italian-sounding name of Zeffirelli. The character and his group of philosophizing friends, just as Cohn-Bendit did, push for greater sexual freedom \u2014 like the right to visit girls\u2019 dormitories at night \u2014 among other things, which aren\u2019t abundantly clear (toward the end of the chapter, Zeffirelli\u2019s love interest criticizes his written manifesto for the movement for being too vague).<\/p>\n

If the Italian name does not hint strongly enough that Zeffirelli is an outsider of sorts among the French students, Anderson uses another technique to get that point across: Chalamet speaks his lines in English, while most of the other French students speak in French. But even though Zeffirelli is set apart in this literal way, the students all understand each other in the world of the film, and the firebrand also becomes a household name in his home city of Ennui (yes, Ennui).<\/p>\n

Cohn-Bendit, with his German ancestry, was also an outsider by blood, and French authorities and other critics of the student protesters tried to exploit that, calling him a \u201csubversive foreigner.\u201d The response to those attacks was a show of solidarity that became a turning point in the history of French Jewry \u2014 at protests throughout France, Cohn-Bendit\u2019s supporters chanted \u201cNous sommes tous des Juifs allemands,\u201d or \u201cWe are all German Jews.\u201d<\/p>\n

It\u2019s a call that was reformulated in the wake of the Charlie Hebdo and Hyper Cacher kosher supermarket shootings in Paris in 2015. Thousands across France marched in solidarity with the victims, championing the slogans \u201cJe suis Charlie\u201d and \u201cJe suis Juif.\u201d<\/p>\n

A double dose of A.J. Liebling inspiration<\/strong><\/p>\n

In the final chapter, the suave Dispatch writer Roebuck Wright retells the wild story behind one of his articles \u2014 which involves a chef who cooks gourmet meals for the city\u2019s chief of police, and an entertaining kidnapping caper.<\/p>\n

Wright\u2019s coolness and intellect is so off-the-charts that it\u2019s played for laughs \u2014 he can literally recite any of his articles, even ones that span thousands of words, by heart. Anderson describes Wright as part James Baldwin \u2014 besides having an envy-inducing way with words, the character is both Black and gay \u2014 and part A.J. Liebling.<\/p>\n

Liebling, a respected journalist who wrote for The New Yorker for decades, was born to Jewish parents in New York City. His Austrian-born father detached the family from their Jewish roots, striving to assimilate into the broader American society of the early 20th century.<\/p>\n

\u201cIt\u2019s not just that Baldwin\u2019s words are so spectacularly eloquent and insightful. It\u2019s also him, his voice, his personality. So: we were thinking about the way he talked, and we also thought about the way Tennessee Williams talked, and Gore Vidal\u2019s way of talking. We mixed in aspects of those writers, too. Plus Liebling. Why? I have no idea. They joined forces,\u201d Anderson told The New Yorker about Wright\u2019s character.<\/p>\n

A last fun fact: Anderson also partially based the editor of The French Dispatch, an American named Arthur Howitzer who is played by Bill Murray, on Liebling.<\/p>\n

\u201cOriginally, we were calling the editor character Liebling, not Howitzer, because the face I always pictured was A. J. Liebling\u2019s. We tried to make Bill Murray sort of look like him, I think,\u201d Anderson said.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2018The French Dispatch\u2019 is Wes Anderson\u2019s most Jewish film yet By Gabe Friedman (JTA) \u2014 Jewishness has been at the fringes of several of Wes Anderson\u2019s movies, but the famed director has never had an explicitly Jewish main character \u2014 until now. In \u201cRushmore,\u201d one of the non-Jewish director\u2019s breakout works, the lead role is played… <\/p>\n","protected":false},"author":1,"featured_media":66050,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"categories":[],"tags":[],"class_list":["post-66049","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry"],"yoast_head":"\n\u2018The French Dispatch\u2019 is Wes Anderson\u2019s most Jewish film yet | HARISSA.COM<\/title>\n<meta name=\"description\" content=\"\u2018The French Dispatch\u2019 is Wes Anderson\u2019s most Jewish film yet By Gabe Friedman (JTA) \u2014 Jewishness has been at the 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