Vladimir Jabotinsky was an essayist, a leader, a writer, a Zionist. Above all, he was a polymath. Jerome Chanes tries to simplify his complicated legacy and history.
“Weimar Cinema, 1919–1933: Daydreams and Nightmares,” running at MoMA until March 7, 2011, is billed as the largest-ever retrospective of German cinema from between the Wars to be shown in the United States. The era’s defining cinematic style, expressionism, is well-represented in dozens of offerings, giving a healthy dose of the atmospheric, disturbing and downright spooky in classics like “The Cabinet of Dr. Caligari,” “M,” “Nosferatu,” “Vampyr” and “Waxworks.”
During her lifetime, even personal friends were unaware that film star Hedy Lamarr was Jewish. Now two new biographies — “Beautiful: The Life of Hedy Lamarr” by Stephen Michael Shearer, due out in September from St Martin’s Press and “Hedy Lamarr: The Most Beautiful Woman in Film” by Ruth Barton, just out from The University Press of Kentucky — both detail how Lamarr was born Hedwig Eva Maria Kiesler in Vienna to a Jewish family, her mother originally from Budapest, and her father from Lvov.
On February 7, at New York’s Museum of Jewish Heritage, a new publication from New York University Press, “Is Diss A System? A Milt Gross Comic Reader” edited by Ari Y. Kelman, will be presented. Gross (born in 1895) of Russian Jewish ancestry, drew comic strips of wild slapstick energy, following in the violence-for-laughs tradition of “The Katzenjammer Kids.” A self-consciously low comedian, Gross drew racist images of black people and was not all that flattering about Jews either.