So silly
Why is the Anti-Defamation League wasting its time condemning a fictional character, Fagin, for portraying a Jew in an unflattering light when the New York Times goes uncondemned for portraying the leader of the Jewish State of Israel, Benjamin Netanyahu, as a dog in a blatantly anti-Semitic cartoon?
The Jews must feel their stranglehold on the “perpetually offended” title slipping.
Why do we allow ourselves to wallow in a status of victim hood that either divides or destroys society?
You’ve got to pick a pocket or two.
I assume all freepers know that the ADL is no longer concerned with antisemitism. It’s solely devoted to combatting anti-Leftism. Its strong interest in combatting 19th century antisemitism in fiction is a clear indication of its lack of a grasp of reality where Jew hatred, Christianity hatred and hatred of Western Civilization is in full flower. Ignore these idiots.
This was in 1951. A tipoff would be ‘the British zone in Germany’...
This is an old story. I do believe some of the images within the film were removed - mostly profiles of Alec Guinness. I could be wrong. A brilliant adaptation if anyone hasn’t seen it. A David Lean movie.
Where do you people who have apparently never heard of the Bible and have no sentimental attachment for the Biblical world come from?
Oh, for Pete’s sake.
Pure anti Semitic Click bait using an old article to fan the flames of dissent
Stay in Zambia and mind your own issues
Regards,
If this is about the 1967 musical, it was actually a big step up compared to Dickens’ actual portrayal of Faygin, and I honestly don’t get anyone purportedly taking offense over such a delightful film. Faygin is the book instigates Nancy’s murder, puts Bill Syckes up to it. In the musical, he’s pleading with Bill “No violence!” He’s humanized from an insidious creep, who, to top it all is also Jewish (eww!), to a lovable rascal.
Anti-Semitic imagery in English literature is hardly confined to Oliver Twist. Richard Cohen in Hemingway’s The Sun Also Rises is portrayed as a pathetic pest. All the Jews in Orwell’s Down and Out in Paris and London are portrayed as terrible people. Then there’s the Vaudevillian accents Pound uses in some of his Cantos. But all of these are forgivable, though bad, as well as Shakespeare’s Shylocke. Marlowe’s Jew of Malta is another matter, but that play is only of historical interest. The only instance that I find totally infuriating and unforgivable is TS Eliott’s Burbank with a Baedeker, Bleistein With a Cigar.
Tra-la-la-la-la-la-laire—nil nisi divinum stabile
est; caetera fumus—the gondola stopped, the old
palace was there, how charming its grey and pink—
goats and monkeys, with such hair too!—so the
countess passed on until she came through the
little park, where Niobe presented her with a
cabinet, and so departed.
Burbank crossed a little bridge
Descending at a small hotel;
Princess Volupine arrived,
They were together, and he fell.
Defunctive music under sea
Passed seaward with the passing bell
Slowly: the God Hercules
Had left him, that had loved him well.
The horses, under the axletree
Beat up the dawn from Istria
With even feet. Her shuttered barge
Burned on the water all the day.
But this or such was Bleistein’s way:
A saggy bending of the knees
And elbows, with the palms turned out,
Chicago Semite Viennese.
A lustreless protrusive eye
Stares from the protozoic slime
At a perspective of Canaletto.
The smoky candle end of time
Declines. On the Rialto once.
The rats are underneath the piles.
The jew is underneath the lot.
Money in furs. The boatman smiles,
Princess Volupine extends
A meagre, blue-nailed, phthisic hand
To climb the waterstair. Lights, lights,
She entertains Sir Ferdinand
Klein. Who clipped the lion’s wings
And flea’d his rump and pared his claws?
Thought Burbank, meditating on
Time’s ruins, and the seven laws.