Rating: 
Summary: Whose "Story" Is It, Really?
Review: This is one of only a few books which, after having read it, I wish I had written it. Of course, I am wholly unqualified to undertake such a task. However, I would have thoroughly enjoyed completing the research required and taken full advantage of every opportunity to interview, personally, as many of the Jewish comedians as possible. Also, as many as possible of the (non-performing) Jewish writers of comedy such as Larry David, Larry Gelbart, and Neil Simon. In a brilliant Introduction, Epstein observes: The story of Jewish comedians in America is one of triumph and success. But their stage smile is tinged with sadness. It is haunted by the Jewish past, by the deep stains in American Jewish life -- the desire to be accepted and the concern for a culture disappearing -- by the centuries of Jewish life too frequently interrupted by hate, and by the knowledge that too often for Jewish audiences, a laugh masked a shudder. The comedians' story in America includes bitter encounters with anti-Semitism and the lures of an attractive culture along the way. The jokes these comedians told, their gags, and their nervous patter need to be set alongside the obstacles they overcame."In this volume, Epstein combines the skills of a disciplined historian and cultural anthropologist with a writing style which has Snap! Crackle! and Pop! Obviously, he also delights in the comic art of so many who "exemplified two great themes of American Jewish life: assimilation and the search for an American Jewish identity....Also, they made Jews proud" while entertaining them as well as ever-increasing numbers of others who also went to the movies, turned on radios and then television sets, sat in nightclubs of various sizes, and bought albums. I am so grateful to Epstein for providing throughout the book an abundance of comic material from scripts, films, published interviews, recordings, and other primary sources. He covers a period from 1890 until the present, organizing his material within four sections: The Golden Door and the Velvet Curtain (1890-1930) NOTE: Epstein creates a context frame-of-reference within which to begin to examine "the two great themes" as countless immigrants arrived in "the land of hope and tears." He then shifts his attention to The Age of Vaudeville. The Years of Fear (1930-1950) NOTE: This was a period during which there were many fears (e.g. poverty, world war, nuclear weapons, Communism) shared by most Americans. Epstein examines what he calls radio's "finest hour" as well as films which had their audiences "laughing in the dark." He then shifts his attention to the rise of the Borscht Belt. The Years of Acceptance (1950-1965) NOTE: Epstein examines the American Television Revolution and then the emergence of stand-up comedy, devoting special attention to Milton Berle, Sid Caesar, and Jack Benny as well as to Lenny Bruce, Myron Cohen, Jack E. Leonard, Buddy Hackett, Alan King, Jackie Mason, Shelley Berman, and Woody Allen. The Years of Triumph (1965-Present) NOTE: In this final section, Epstein traces the further development and refinement of "the two great themes" of American Jewish life (i.e. assimilation and the search for an American Jewish identity) and I enjoyed reading this section more than any of its three predecessors. In it, Epstein takes a close look at the films of Woody Allen and Mel Brooks (among several discussed) and then shifts his attention to Rodney Dangerfield, Don Rickles, Andy Kaufman, Howard Stern, various Jewish comediennes, Jerry Seinferld, and (in the final chapter) an emerging generation of young Jewish comedians. In the Appendix, "Schlemiels and Nudnicks," Epstein shares his final thoughts which help the reader to re-establish an overall perspective on material which covers a period of more than 100 years. (It could reasonably be claimed that Epstein has examined certain themes and forces which have been active within Jewish culture for several thousand years.) He concludes that "the comics who emerged from this Jewish background were not aware of psychological or sociological theories. As George Burns noted, they were not hungry for recognition,; they were hungry for food. They did not question their humor but rather just recognized and used it. Nevertheless, the roles comedians played and most particularly the contributions of Eastern European Jewish culture shaped the personalities of these comedians and lay, either hidden or not, in their minds." For me, a Gentile, it is impossible to determine to what extent Jewish comedy became assimilated within American society, and, to what extent Jewish comedy helped American society became assimilated with Jewish values. Let's all call it a tie and consider ourselves that much the better for it.
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