Bridge of Light: Yiddish Film between Two Worlds

Abstract

Bridge of Light: Yiddish Film Between Two Worlds, by J. Hoberman. Updated and expanded edition. Hanover, NH: Dartmouth College Press, 2010. 432 pp. $39.95. J. Hoberman's authoritative work on Yiddish cinema boasts many strengths. It is impeccably researched and is brimming with fascinating behind-the-scenes anecdotes. Hoberman provides thorough background on key films, actors, producers, and directors associated with the Yiddish cinema. At times he must resort to speculation, while admirably trying to fill in the gaps that stem from the missing documentation, lost films, and incomplete prints that are an unfortunate component of Yiddish cinema's reality. Hoberman relies heavily on contemporary reviews, which are helpful in understanding the films' reception at the time of their production and initial screenings. It is somewhat surprising how little film analysis Hoberman offers himself, but his reliance on reviewers can be attributed in part to the sad fact that some of the films simply lack extant copies. The book is structured more or less chronologically, with most chapters focusing on trends within a time period as well as on a particular geographical region where Yiddish cinema once flourished, especially Moscow, New York, Vienna, and Warsaw. In each case, Hoberman offers ample relevant historical and socio-political context, elaborating for instance on the reach of antisemitism or on the ramifications of censorship at a given time and place. He emphasizes the recurring themes of Yiddish film-such as generational conflict, intermarriage, immigration and assimilation, the old versus new worlds, and mistaken identity-while distinguishing the films by pointing out essential differences contingent on the locations and dates of their production. Hoberman also elucidates the complex relationship that Yiddish film has had with the history of Zionism and with international socialist movements. Despite the great amount of detail that the author includes, his relatively short chapters and generally concise plot summaries contribute to the volume's readability. The abundant accompanying photographs and film stills increase its appeal further. Yiddish terms are usually, although not always, glossed within the text, and additionally there is a glossary toward the back of the book (however, this feature is not pointed out to the reader in the foreword or the introduction, so some readers might miss out on this useful resource altogether). The method of citing sources quoted within chapters in a separate section in the back (Notes on Sources) may cause the reader some confusion. It would have been helpful if these notes also referenced the page numbers where the sources are cited within Bridge of Light, rather than only providing lists of the bibliographical information for sources from each chapter. …