Analyzing the 1970 film I Love My Wife, and its obviously Jewish leading man Elliot Gould, Michael Weingrad observes an “uncomfortable obfuscation of a certain kind of sociological Jewishness” found in other movies of the era:
In I Love My Wife, we see the protagonist early on as an adolescent being launched toward a lifetime of sexual compulsion by a neurotic mother who, for instance, pounds on the bathroom door to make sure he isn’t masturbating. (He is.) It’s all third-rate Portnoy’s Complaint, yet we then see the family at . . . church?
We can see plainly that they are Jews, like the director Mel Stuart; the screenwriter [Robert] Kaufman; Gould, married for a decade to Barbra Streisand; and, it goes without saying, the producers. . . . So why this bizarre pretense that Gould and family are Protestants?
The answer is that I Love My Wife is one of many movies from 1967 to 1972 that stumble awkwardly around the question of how to present overtly Jewish characters, especially men. With painful insecurity, and using the license of the counterculture to overcompensate with aggression and offense, these movies gave us a rogues’ gallery of often profoundly unlikeable characters—though a few are sympathetic anti-heroes.