Reviews
NY152 - 07/03/09
When I saw this film premiered at the JCC in Washington, DC, I expected to be bored, as I have very little patience for documentaries, especially ones concerning early film. I'm glad to report that Kempner's work defied my expectations. Yoo-Hoo, Mrs. Goldberg is both informative and cute, giving the perhaps once forgotten Gertrude Berg a refreshing and tasteful image. Those who have forgotten the iconic Gertrude Berg will regain a sense of sweet nostalgia, while others blissfully ignorant to Gertrude Berg's impact on Jewish and commercial television, young and old, will find themselves sweetly enlightened. Yoo-Hoo Mrs. Goldberg not only takes an in depth look at Gertrude Berg but also details the history surrounding rise of The Goldbergs, including the infamous blacklist fiasco brought on by the rise of communism as well as other deep seated topics of the era -- an addition to the film which I thought kept the documentary well-rounded and informative, amid its lightly pellet humor. No doubt about it -- Yoo-Hoo is a scream. Kempner has done a fine job in resurrecting Gertrude Berg from her black and white past and putting her in a contemporary lens that we all can understand and enjoy. 10/10, satisfaction guaranteed, very well done.
kbuntin - 07/03/09
Yoo-Hoo Mrs.Goldberg is an amazing film that tells the life story of the leading female entertainer of her time. I can not agree more with the quote "She's the most famous women in America you've never heard of." I'm surprised that she hasn't won more acclaim for what she accomplished, and I feel that this is a story that needs to be told and that it's a film everyone needs to see especially if you were not exposed to Berg's work before. Younger generations often forget that what is available to them now. What is now available on television wasn't available in the past, and this film really helps people appreciate that. Early producers, writers, and actors had to take big risks when appearing and airing new material. Gertrude Berg took that risk and now character driven sitcom have become the norm of television, thanks to early stars like Gertrude Berg.
Cassandra - 11/29/09
The music/singing was inspirational at times brought tears to my eyes. I can still hear it.
Stephen - 12/01/09
This film is now available on DVD at www.makingtrouble.com!
szucker - 09/03/10
Read the full set of question cards that we received from the audience for the moderated discussion, “Is Dialogue Possible?…”
Video footage of the panel and Q&A will be available soon to watch on SFJFF's Youtube channel.
1. How can a documentary avoid propaganda, intentional omissions, false information, and misleading statements? How can a viewer discern such distortions?
2. Thank you so much for showing these clips. It’s so important for Americans to see these images. Can you talk about if there are ways that you navigate the strong feelings/politics that come up? What are the constraints on the idea of ‘balance’ in these complex films?
3. Kristoff in his column mentioning Budrus, also said that women might be the key to peace. I made a film about Palestinian and Israeli women fighting for peace and have concluded that making the film is not enough, that there must be a mobilizing arm/institution to make it happen. Please comment. – Lily Rivlin
4. I’d like to ask the filmmakers towards what end they are working. What is their overarching vision? Is it peace? Justice? Jewish survival? I’d like to hear Rachel Eryn’s thoughts too. AND What Palestinian films do they recommend and why? What Israeli films do they recommend and why? What about other films about the conflict?
5. Who is the target audience for these films, and do you have an underlying goal (or vision) vis-a-via contributing to the peace process?
6. How can film make us use new media, like Youtube short clips to promote dialogue and overcome stereotypes of others? Is anything being done on this front?
7. Have any of the filmmakers worked with AIPAC or engaged them in dialogue?
8. You spoke about sharing stories. How can we who are post-/non-/anti- Zionist Jews share our stories?
9. I would like curriculum to accompany these films (as exists for PROMISES). What plans/curricula exists for us to use in our communities?
10. Even with showings in villages and community centers, film festivals, etc., only those very specifically interested care (not in helpful ways always). New forms are needed! What are your ideas?
11. Most people today have little factual education on Israel, let alone the Palestinian conflict. What do you as filmmakers/professionals think is your responsibility in forming public opinion?
12. At last year’s SFJFF, the film RACHEL wasn’t in itself controversial, although the subject was. The point of contention was the coupling of the film’s subject with the invitation to Cindy Corrie when the director wasn’t available. My question is, how do we tolerate a voice that has been ‘loaded’ as pro this, or pro that?
13. Why is it that Israeli filmmakers can address very controversial issues which American Jews refuse to address and are even hostile towards?
14. There is a lot of talk about the Jewish/Israeli obligation towards peace. Where is the Palestinian obligation? Why aren’t there Palestinian films about the need and history of a righteous Jewish state?
15. The broader issue is the conflict between Radical Islam, Christians, and Jews. What films focus on this?
16. In last night’s news, it was reported that the Israeli army destroyed a whole Palestinian town, olive trees included. Comments?
17. How can Jewish arts/ideas organizations have open dialogue without alienating funders and cutting off support?
18. The panel is a ‘left-wing’ takeover. Where is Mike Harris or Laurie White, MD? Are films critical of Palestinians shown in Arab Film Festival or are only the films that they sponsor that trash Israel?
19. In a situation where you have mainly pro-Israel (“no matter what”) audience, how do you do a program that is critical of Israel on any level? Can you? Should you?
20. Are there outlets in the “Arab world” where balanced media embracing the complexity of both sides is explored? I am proud of the conscience in works such as Budrus, Waltz with Bashir, etc.- but it seems to be entirely produced by “one side.”
21. Balance should be examined by the Festival itself. Over the years their choices have been to show films critical of Israel with none on the other side when the film deals a political subject.
22. MY SO-CALLED ENEMY- Do Israeli settlers ever sign up for the Building Bridges program? If so has any such young woman every gone through the program? Any more details?
23. MY SO-CALLED ENEMY- Was the girls’ experience of dialogue truly transformative? Will it really help create structural change? Is dialogue a nice illusion?
24. How can the Festival and this panel ignore what has transpired in Gaza?
25. In the past, Hollywood moguls asked: “Is it good for the Jews?” Today the question is, “Is it good for Israel?” Is this appropriate for an open society?
26. Civil discourse between Americans and Palestinians (Christian and Muslim) necessitates a more balanced panel than this. If this is about ‘walking the walk’ where are the Palestinians on stage? And if the answer is “There are no Palestinian filmmakers” or we couldn’t get a Palestinian filmmaker out, then it begs the question… what are you/we doing to change this?
27. As difficult as dialogue is for the participants themselves, it seems that those who are not present could benefit from it much more. How can we bring dialogue beyond the proverbial choir?
28. Intrinsically film gives a point of view. In a discourse are the film points of view representative of all the issues or only those chosen by the filmmaker- how to achieve the balance?
29. I was heartened to see peace-making Hamas member in Budrus. Is there a J Street two-state solution group among Arabs to build bridges?
30. Would the SFJFF (or other Jewish Film Festivals) be comfortable screening films that are critical only of the Arab side?
31. Concern that current context of war between Palestinians and Jews is on the level of PR, that hypercritical films are bad because Jews side with perceived “underdogs.” If they say we’re bad, and we say we’re bad—folks, young folks, students believe it is the whole truth. Comment?
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