Tuesday, October 31, 2017

Perfect for Halloween and Day of the Dead: The Dybbuk Movie of 1937

            
S. An-Ski: Ethnographer, Author, Polyglot
Recording in the Shetl
           This past weekend, I had the chance to see the Polish/Yiddish 1937 film The Dybbuk again, restored and uncut, with new English subtitles.  What a cool movie!  It was based on a play with a complex history, written by S. An-Ski (aka Shloyme Zanvi Rappoport).  An-ski was a complex guy himself.  A product of Eastern European 19th century Jewish culture, An-Ski is best remembered as an ethnographer, who with a photographer and musicologist, sought to study the vanishing culture of the Eastern European Yiddish-speaking shtetl (village) of his time in a series of expeditions made between 1912 and 1914 in what is now the western Ukraine.


            At around the same time, An-Ski wrote the Dybbuk.  Completely bilingual in Russian and Yiddish, he produced versions in both languages, beginning around 1911, and spent the rest of his life trying to get it produced.  It was first published in Moscowa in 1920, but in a Hebrew translation by Chaim Bialek--which subsequently was performed by the Habima company there, and went on to have a long life in Israel, not only in continuous performance, but inspiring several operas (you can watch them on YouTube).

The Dybbuk: First Vilna Production
            The Yiddish premiere came in the city of Vilna (now Vilnius), a month after An-Ski's death, and was an instant hit.  It was later translated into several languages and performed all over Europe, the United States and Canada, and is still performed today.

            But in many ways, it is the 1937 movie that has endured in the popular imagination.  It was made in Poland in Yiddish, directed by Mical Waszinsky, himself quite a character.  Waszinsky had been born Moshe Waks in a Ukrainian shtetl, but later moved to Warsaw, Poland and converted to Catholicism, after learning the film director's trade from F.W. Murnau in Berlin.  Most of his prolific film career in Warsaw lay in Polish films, but in 1937, he made The Dybbuk in Yiddish with a Jewish theatrical cast.  It was filmed in Warsaw and on location in the Polish town of Kazimierz Dolny, called Kuzmir by its Jewish population.  It was lucky to have been made then, because two years later the Nazis invaded and began obliterating this culture altogether

            The Dibbuk probably remains the only Yiddish-language film that was targeted to an audience beyond the local Yiddish speaking community. In order to do this, the plot was enlarged with a back-story to explain its subsequent events.  Its story in the movie is as follows:
 
The Dybbuk: The Messinger and the Young Sender
The Dybbuk: Leah and Chonan
            In a little Jewish town, two friends, Sender and Nisn, whose wives were both pregnant, made a vow if one baby was a boy and the other a girl to marry them off when they grew up.  In spite of dire warnings from a mysterious Messeinger, they declared their vow in front of the illustrious visiting Rabbi.  Sender duly had a daughter, Leah, and Nisn a son, Chonan, but Sender's wife died in childbirth, and Nisn, returning to his distant village just as his wife went into labor, died on the way home.

            Fast forward 18 years.  Sender, now very rich, decided to find an even richer match for Leah, now eighteen and gorgeous.  Enter a poor itinerant student, none other than the grown-up Chonan, who comes to Sender's town to continue his higher education at the town's Yeshiva.  The Messenger reappears again, and persuades Sender to take in this poor student for his meals.  Sender has forgotten his vow to Nisn, and doesn't recognize the young man as Nisn's grown son.  Leah and Chonan meet, instantly find a strong bond, and realize that they belong together.  They wish to marry, but Sender will not hear of a poor match and continues to pursue a more advantageous one.

            The distraught Chonan turns to mystical means to achieve his goal.  He studies Kabala and other, less savory magic texts, starves himself with fasting, and finally even invokes Satan to achieve his ends.  For this last transgression, he drops dead in the Synagogue.  Leah is totally distraught, but even so her father goes ahead and contracts a marriage for her with a rich but totally unattractive and stupid prospect.  The Messenger appears again, and reveals to Sender that Chonan was the Nisn's son, and reminds him of the vow--too late!

The Dybbuk:Leah at Chonan's Grave 
            As preparations for the marriage go ahead, Leah is taken to the cemetery to invite the spirit of her mother to the wedding, as per local tradition.  While there, she goes to Chonan's grave and invites him also. The Messinger, lurking nearby, informs Leah's aunt, her chaperone, and warns her about the dangers of letting the girl wander about the cemetery alone--but--too late--the invitation has been   Back in town, the marriage celebrations begin, but in a macabre scene, Leah can only envision them as a dance with death.  When the time for the marriage vows comes, she refuses her groom, crying out Chonan's name.   Chonan has become a Dybbuk, a dislocated soul, and enters into Leah's body when she calls out to him, and she begins to speak with his voice.  Naturally the wedding doesn't go on.  The distraught Sender makes every effort to free Leah from Chonan's spirit, but both she and the spirit refuse.  He finally takes her to a famous miracle-working Rabbi, who first summons Nisn's spirit and asks his help to nullify the broken vow.  Nisn's spirit refuses him.  Finally, with a blowing of seven shofars (ram's horns) and the lighting of black candles at the Holy Ark of the synagogue, Chonan's spirit is purged, but emptied of the spirit of her beloved, and after portentous warnings by the Messinger, Leah dies in the synagogue.
made, and accepted.


            The film, done in black and white, is expressionistic in style, not surprising considering the director's training, and much of the dialogue is stylized, as well as is the gestural acting, not only by the main characters, but in the menacing figure of the Messenger, who appears and disappears throughout, standing impassively, and giving dire commentary and sometimes warnings to all.

The Dybbuk: Leah, at The Wedding, Dances with Death
            I showed the film during my classes of Jewish and Judaic art, primarily because it offers one of the few, Pre-World War II glimpses into an Eastern European synagogue "in action," and thus a picture of the very soon-to-disappear world that An-Ski was documenting.  After the war, of course, that world, that culture and that language would vanish.

            What was so very fascinating, though, was how my students reacted to the film: they loved it.  Most of my students weren't Jewish, but the story resonated.  Unrequited love and hauntings exist through many cultures. In making such a "folkloric" movie accessible to a wider audience as Waszinsky and his script-writers and cast did, they also succeeded in making the film timeless.  The story, after all, of star-crossed lovers and the forbidden supernatural, is still plays loudly in popular imagination.  The expressionistic, dark style transports us to a spiritually strange world, where these things can happen.  Modern versions would be loaded with CGI effects that would be far more over-the-top, louder and loaded with exploding color, but it's the very remoteness of the black and white stylization that makes it so tragically mysterious--even with the in-your-face presence of The Messenger.
 
The Dybbuk: Montreal, 2015; Mystical???
            Of course, if the story could have placed today, it never would have happened.  a simple cellphone call would have told Sender and Nisn's widow what had occurred in their respective towns, the vow would have been remembered, and Leah and Chonan could have lived happily ever after in a more egalitarian world.

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For an interesting account of An-Ski's ethnographic expeditions, there is a wonderful book of photographs, entitled Photographing the Jewish Nation, Pictures from S. An-Sky's Ethnographic Expeditions, Waltham, Massachusetts, Brandeis University Press, 2009.

An English translation of The Dybbuk is available:
S. Ansky and David G. Roskies, The Dybbuk and Other Writers, New Haven, Yale University Press, 2002.


The complete, remastered 1937 film is viewable on YouTube:https://www.youtube.com/watch?v=tjy7O9sA1TQ&t=2707s

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