While Touro was modest and dedicated to helping others, the four Jews portrayed in David Denby’s recent Eminent Jews were anything but. Indeed one wonders what it says about Denby’s view of Jewish history—and perhaps more widespread American-Jewish self-conceptions—that he chose Mel Brooks, Norman Mailer, Betty Friedan, and Leonard Bernstein as the subjects of his biographic work. David Mikics writes:
Denby borrows his title from Lytton Strachey’s modernist classic Eminent Victorians. Looking back to his parents’ era, Strachey can be a wicked demystifier, cracking jokes at the expense of Victorian icons like Florence Nightingale. Denby, by contrast, celebrates his four Jews, without hiding their faults. None of Denby’s subjects was immune to the show-stealer’s narcissism. For these Jewish upstarts, egomania supplied a key ingredient of artistic success.
In Denby’s quartet, only Bernstein remained strongly attached to traditional Jewish texts. An ardent Zionist, he conducted the Palestine Orchestra during the War of Independence with artillery sounding in the background, and there is a famous photo of Bernstein hoisted up by Israeli soldiers in 1967. Bernstein’s first symphony, Jeremiah (1942), is based on the book of Lamentations, adapted to the destruction of European Jewry.
Yet while none of the four prioritized Jewish concerns, that other indisputable genius, Mel Brooks, may also share some of Bernstein’s Jewish pride:
For his first movie, Brooks came up with The Producers, a grand piece of slapdash hilarity that he first wanted to call Springtime for Hitler, before he was informed that no Jewish theater owner would agree to put up a sign for such a film. Like Mo of the Three Stooges, Brooks was a passionate fan of Hitler jokes, which he saw as the Jews’ revenge on their archetypal enemy.
More about: American Jewish History, Leonard Bernstein, Mel Brooks, Norman Mailer