By KEN EISNER
Joe Lieberman's historic 2000 run for the White House works as a vehicle
to examine the relationship between the U.S. and its Jews. Lack of focus
on political philosophy makes "Only in America" safe for PBS and other
pubcasting berths, but updating it with fallout from the contested last
election would make it more relevant.
Senator Joe emerges as a likably self-deprecating yet pious figure. "I'm in this campaign 24/6," he booms, archivally, in reference to refusal to work on Saturdays. (He was the only leading Democrat to call for
Clinton's impeachment, which probably didn't help the campaign.) Sagas of Lieberman's immigrant mother and wife Hadassah, a survivor of the Czech Holocaust, are interesting. Pic looks at Lieberman's rise in the context of American anti-Semitism, which previously had Father Coughlin and other stirrers, and makes a case for concluding that those days are gone forever. The only negative is helmer Ron Frank's lack of interest in understanding the conservative views of a man who, as Jon Stewart recently dubbed him, is "the candidate for people who want to vote for George Bush, but don't find him Jewish enough."
By JENNIFER FREY
This is the way David Royle, career filmmaker, sees it:
California is all about Hollywood and fantasy.
New York -- where he spent most of his early career -- is all about entertainment.
And Washington is all about gritty reality.
And so tomorrow night's symposium includes screenings of "Only in America," in which Los Angeles director Ron Frank follows the 2000 campaign of Sen. Joseph Lieberman, the first Jewish candidate for vice president, and "We Wuz Robbed,"Spike Lee's analysis of what happened in the 2000 election. The panel that follows-- hosted by ABC political director Mark Halperin and featuring George W. Bushmedia adviser Mark McKinnon and Democratic strategist Eskew -- won't be so much about film as it is faith and politics, and will look at the 2000 election and the upcoming race in 2004.
"It's getting a much bigger play there [in Washington] than anywhere else, which I'm sure is because of the subject," Frank says. "A lot of people think, well, our film's a political film, and it really isn't -- it's a cultural film -- but obviously politics are all over the place on it."