Central Florida's Independent Jewish Voice
Central Florida's Independent Jewish Voice
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Second of a three-part series. (The first part can be read in the July 26 issue of Heritage) Jeffrey Katzenberg grew up in Manhattan, the son of an artist mother and a stockbroker father. By the time he was 14, he was volunteering for John Lindsay’s successful mayoral campaign. Even as a kid, “I was entrepreneurial, always looking to do things, organize things, you know, when there was a snowstorm, we’d go shovel sidewalks for storeowners on Madison Avenue, and we’d have our lemonade stands...
Many people, Jew and non-Jew alike, have wondered who they might have been during the Holocaust. A righteous gentile like Schindler? A self-serving member of the Judenrat? In other words, a person of courage or cowardice? Now, nearly seven decades later, an explosive new book reveals haunting details about Hollywood’s relationship to Hitler’s Germany. And the era’s predominantly Jewish studio heads are taken to task for their apparent complicity in Hitler’s anti-Semitic propaganda. In America, responses to Hitler’s assault on Europe varied—but...
First of a three-part series. My big mistake, upon arriving at Jeffrey Katzenberg’s office, is that I didn’t bring my ballet slippers. But no one really told me about the choreography of a visit here, in which Katzenberg’s vassals at DreamWorks Animation, the company he co-founded and oversees, welcomed me in, warmed me up and made me wait. It’s a very pretty dance, though, past the koi ponds and cobblestone drive, the sports cars and sprawling courtyards, and into the sleek reception area wh...
F. Scott Fitzgerald proclaimed his distaste for Jews with his clichéd portrait of gangster Meyer Wolfsheim in his Jazz Age opus “The Great Gatsby.” The crucial but peripheral character is never described in detail, save for an upfront declaration that he is “a small, flat-nosed Jew” with “tiny eyes” and “two fine growths of hair” luxuriating in his deeply enchanting nostrils (which apparently either intrigued or repelled Fitzgerald since he mentions it several times). Indeed, for Fitzgerald, the Jew’s most salient and significant featur...
The camera opens on a frazzled Philip Roth. He is futzing with the horseshoe of hair he has left, rubbing his face and furrowing his unruly brow as a look of supreme unease settles over his face. For a man who recently announced his retirement, he seems a bit stressed. And for a writer who has spent the better part of his life projecting outward, Roth, at first, squirms under the scrutiny of the camera’s gaze. “In the coming years I have two great calamities to face,” he announces at the beginning of the documentary “Philip Roth: Unmaske... 
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