Komediant (Documentary)
Picture: C+
Sound: C+ Extras: C Documentary: B-
Though I thought I would learn even more from it, Arnon
Goldfinger’s The Komediant (1999) still shares the thoughts of those
Jewish immigrants who knew the glory days of the Yiddish stage first hand. To become an actor was considered the worst
thing, but I find that ironic considering these are many of the same immigrants
who made Hollywood possible.
With that said, the documentary gives us a better idea of
the Borscht Belt and the families that gave their lives to be part of it. This includes the usual family issues, some
dysfunction, who is and is not popular, commercial success and failure, the
fear of being typecast, companies ripping–off artists (tinged here with very
real anti-Semitism) and how this art was eventually eclipsed by time and newer
artforms.
Pesach’ke Burstein was a central figure in the heyday of
the classical Yiddish Theater Era, who married another star, Lillian Lux. This is around the mid-1920s. Even their children would become
performers. That would lead to more
popularity and conflict. Of course,
fickle audiences and The Holocaust also soon come into the picture. The regrouping does not quite go as was
hoped. Fortunately, revivals are still
going on.
There are great film clips, audio Soundbites, stills and
memorabilia offered. This is being done
through the lives of one family and it is compelling, but even interviewing
other figures like popular TV actor Fyvush Finkel, it is far from the encyclopedic
overview this subject needs. As it
stands, The Komediant is still good and a fine start to exploring this
lost era of a vital artform.
The full frame 1.33 X 1 image originated on videotape of
the time, except some of the film clips and that includes a “color and
CinemaScope” production that is far form properly letterboxed in the clip
shown. Where is this film, called 2
Kuni Lemies, and does it still exist?
The Dolby Digital 2.0 is a mix of older mono and current, simple stereo
taped on location with the interviews.
Extras include a trailer for this and four other New Yorker titles, and
older footage of stage performances on black and white film with sound and some
audio-only performances. It is archival
enough to own, but will leave you wanting to learn more.
- Nicholas Sheffo
