Jewish History in Film: Eastern Europe and the immigrant experience in 'An American Tail'

With the holiday season behind us, cool weather upon us, and our wax-covered Chanukiahs needing a polish before being put away until next year, there are few better films to snuggle up to than the Steven Spielberg produced, Don Bluth directed, “An American Tail.” Originally conceived as a television special, Spielberg felt that the work had the potential to expand into a feature. After having finished “The Secret of Nimh,” Spielberg approached Bluth and asked him to “make me something pretty, like you did in Nimh … make it beautiful.” Thus, began Universal Pictures’ first animated feature since 1965’s “Pinocchio in Outer Space.”

In the late 19th century, after the assassination of Tsar Alexander II, rumors spread that the Jewish population held responsibility. As a result, the government issued three major pogroms (state-sponsored attacks) against the Jewish communities. A portion of the Russian military was made up of the Cossacks, which were an East Slavic Orthodox Christian people, who carried out many of the violent attacks against Jewish individuals.

This is where “An American Tale” opens, in Shostka in the year 1885. Shostka is a real village in North-Eastern Ukraine where the Cossacks were based. Within Shostka, lied an area known as the Pale of Settlement, where the Jewish population was allowed to reside. Not only did Jews experience terrible poverty here, but they were also subjected to repeating violence and abuse. 

On an icy night in Shostka, during their celebration of Chanukah, we are introduced to the Mousekewitz family (living under the home of a human family holding the name Moskowitz); Papa, Mama, Tanya, Fievel, and baby Yasha. After giving Fievel his hat, which slumps down over his head in only the cutest animated film fashion, Papa tells the children the story of the legendary Giant Mouse of Minsk and a place called America — where there are mice in every wall, crumbs on every floor, and absolutely no cats. The story, and the dream, comes to a crashing end when the town is attacked by the Cossacks (“Catsacks”), leaving their home (and the Moskowitz’s) destroyed.

Like the 2.5 million Jews who fled the country between 1881 and 1914, the family decide to make the 2,000-kilometer trek to Hamburg, Germany, where they board a steamer on its way to the legendary USA. 

What is known as the “Great Wave” of European immigration is between the years 1880 and 1930. With approximately 27 million people flooding the ports of America, legislation was also passed to keep immigration at a minimum from certain regions, which mostly targeted Asian immigrants. The dangers of many of these treks is seen when the steamer is engulfed in a deadly storm. During this, Fievel is separated from his family and presumed dead. However, this is just the beginning of his “tail.”

The film takes its time to tell this immigrant story. When the Mousekewitzes arrive in America, we receive a full dose of the tediousness of immigration procedures through stations like Ellis Island. In one moment, Tanya’s name is even changed without her permission.

It is not long before the family realizes that the stories of “oppression free” America were not exactly true. There are, indeed, cats here. In fact, they are everywhere. Like many immigrants of the time, their disillusionment grows.

However, the Mousekewitzes are not so easily chased out of their new home and, soon enough, they join forces with other, like-minded immigrant mice families to stand up for themselves. This is their home now, and they will not give up without a fight.

“An American Tail” is a hopeful story of immigration, of Jewish identity and pride, as well as the importance of stories in our collective memory — as is seen in the climactic scene, when the cats are defeated by the enormous embodiment of the target of their oppression (certainly inspired by the old story of “The Golem”) in the form of the Mouse of Minsk. As the mice shout “E Pluribus Unum,” we are reminded of the importance of standing up for ourselves and for each other.

Zachary Aborizk is an independent filmmaker, writer, and teacher based out of Orlando, FL. His work has appeared in such publications as Adelaide Magazine in New York as well as the Tampa Bay Underground Film Festival.