A British-Jewish Film Genre?: Consider Gasbags (1941)

IF 0.1 0 FILM, RADIO, TELEVISION Jewish Film & New Media-An International Journal Pub Date : 2016-10-01 DOI:10.13110/JEWIFILMNEWMEDI.4.2.0139
M. Berkowitz
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Abstract

There is sparse comment on the feature-length movie Gasbags (Marcel Varnel, Walter Forde, UK, 1941), which starred Bud Flanagan (1896–1968, born Chaim Weintrop), the leader of the “Crazy Gang” comedy troupe and a performer clearly marked as a Jew. Gasbags is in many respects comparable to Charlie Chaplin’s The Great Dictator (USA, 1940) and, similarly, includes a schlemiel posing as Hitler. Jewish elements are prominent in other Crazy Gang films, especially A Fire Has Been Arranged (Leslie S. Hiscott, UK, 1935) and O-Kay for Sound (Marcel Varnel, UK, 1937). What differentiates Gasbags from other expressions of wartime humor is the extent to which it confronts social-class divisions. It also reflects the degree to which the British film business was comfortable with Jewish approaches, which would change in the 1950s. The British Film Institute hails Gasbags as one of two 1940 films “so outrageously disrespectful of the Nazi menace” that it retains “a surreal effectiveness”—yet it is not often shown or studied.
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英国犹太电影类型?例如《气囊》(1941)
长片《Gasbags》(Marcel Varnel, Walter Forde,英国,1941)很少有人评论,这部电影的主演Bud Flanagan(1896-1968,原名Chaim Weintrop)是“疯狂帮”喜剧剧团的领袖,也是一名明显的犹太人。《气囊》在很多方面都可以与查理·卓别林的《大独裁者》(1940年,美国)相媲美,同样,片中也有一个假扮希特勒的笨蛋。犹太元素在疯狂帮的其他电影中也很突出,尤其是莱斯利·s·希斯科特(1935年,英国)和马塞尔·瓦尔内尔(1937年,英国)。Gasbags与其他战时幽默表达的区别在于它面对社会阶级分歧的程度。这也反映了英国电影业对犹太方法的接受程度,这种情况在20世纪50年代发生了变化。英国电影协会称赞《气囊》是1940年两部“极度不尊重纳粹威胁”的电影之一,它保留了“一种超现实的效果”——但它并不经常被放映或研究。
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期刊介绍: Jewish Film & New Media provides an outlet for research into any aspect of Jewish film, television, and new media and is unique in its interdisciplinary nature, exploring the rich and diverse cultural heritage across the globe. The journal is distinctive in bringing together a range of cinemas, televisions, films, programs, and other digital material in one volume and in its positioning of the discussions within a range of contexts—the cultural, historical, textual, and many others.
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