Introducing the role Bette Midler was born to play: the actress will portray the legendary and scandalous Mae West in the upcoming HBO film by the same name.
Harvey Fierstein is writing the script and Jerry Weintraub, who executive produced HBO Films’ Emmy-winning Behind The Candelabra, is also involved. William Friedkin (“The Exorcist”) will direct. The movie will be based on West’s autobiography, “Goodness Had Nothing To Do With It.”
West was a late arrival, signing her first movie deal with Paramount at 39, but went on to make a string of hits, becoming one of the highest-grossing stars of the 1930s while still finding ways to push the envelope and keeping studio censors busy. Midler’s career path resembles that of West — she too made a name for herself onstage in New York (she made her Broadway debut in the chorus of Fiddler On The Roof) before segueing to features in her 30s for a successful movie career, which has earned her two Oscar nominations.
Midler can currently be found at the Geffen Playhouse performing in a three-week engagement of “I’ll Eat You Last.”
Mad. Excitement. Starts. Now.
In the subculture of Christmas mixtapes Bill Adler is a very important Jew. For close to 30 years, the Manhattan music maven has put out “Xmas Jollies,” which just may be the most eclectic Yuletide mixtape on the planet. Adler has what musicians refer to as very big ears and for many of his 300 or so friends — Jews, as well as gentiles — his Jollies mixtape is a major part of the holiday soundtrack.
“My northern star in this has always been Santa Claus, not Jesus,” Adler told The Arty Semite.
A Detroit native who married outside the tribe (his wife is the TV chef and cookbook author Sara Moulton), Adler decided to create his own Christmas soundtrack in the early 1980s when he started celebrating the holiday with his in-laws in New England. The goal was to assemble an hour of music that would serve as an antidote to what he felt was “the oppressive corniness of the holiday.”
Comedy, explained Aristotle, has a vague history, because at first no one took it seriously. We cannot know for certain if Aristotle was deadpanning, but his observation would amuse Saul Austerlitz. According to Austerlitz, American film comedy has not been taken seriously, either. In fact, the author quips, it is American film’s “bastard stepchild.” With his latest book “Another Fine Mess: A History of American Film Comedy,” Austerlitz gives us a broad survey of the genre, hoping to spark debate.
There were few Jewish comedians in Aristotle’s day, but in American comedy, Austerlitz notes, Jews are “the only minority group overrepresented.” The title of his book is taken from a catch phrase by the gentile comic geniuses Laurel and Hardy, but on the cover of the book, it is Jewish comedians, The Marx Brothers, who are making a mess. For Austerlitz, the Marx Brothers are the embodiment of Jewish humor — “anarchic, absurdist, and ebullient” — existing in the face of a hostile or dismissive power structure.
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