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Blogs by Robert A. Mills
JEWS
12/21/2013 2:24:18 PM
Were I ever asked if Robert A. Mills was my real name, I would
be compelled to tell the truth: yes. However, had their roles been
reversed, my maternal grandfather, an immigrant Jew from Croatia,
my mother, as her first-born, would have named me after him:
Stephan D. Goran-Ivanisĕviċ, pronounced Gore-ánn-Í-vhán-iss-ah-
vićk — same as the 1991 Wimbledon winner.
What does the D. stand for? asked the misty-eyed attendant at Ellis Island.
Dstriudriespilious, muttered my eventual grandfather.
Hmmmm, said the sleepy attendant, writing without looking up in his
formal U.S.A. manifest for September 10, 1913,up, from now on you will
be known as Steven Delano Lasch . . .
The old attendant was obviously a navy man and devoted follower of the
then Secretary of the Navy, as well as the silent screen star Lash LaRue
(who, incidentally, taught Harrison Ford how to use a bullwhip for the
latter’s role as INDIANA JONES).
My eventual grandfather, also an aficionado of Saturday afternoon cinema
escapes, mistakenly mispronounced Lasch (Lasque) until he too fell in
love with the indubitable Lash LaRue.
Consequently, I was named after my paternal grandfather — with some
influence by my mother, as Robert A. Mills (the Robert in recognition of
her favorite actor, Robert Taylor, with whom as she smitten, and the A. in
difference to my old man, Arthur Alexander Mills).
I was baptized into my father’s and paternal grandparent’s church
(Methodist), and I have always distrusted infant-baptism. I was later
baptized into my mothers, wife’s, youngest daughter’s and son-in-law’s,
and maternal grandmother’s church (the Church of England — Episcopal),
and when I reached the age of reason and realized I did not give a damn, it
was too late (at least I could take Communion with people that mattered).
I went to Hollywood in the autumn of 1950 to ostensibly research material
for a novel about Buddy Clark, which I did not write until 2013-14.
Buddy who? you ask.
Buddy Clark, had he lived past his 30s, might have starred in GOING MY
WAY (an Academy Award performance), THE BELLS OF ST. MARY’S,
Cole Porter’s HIGH SOCIETY, and he might have won an Academy
Award for FROM HERE TO ETERNITY. Was he as good as Crosby and
Sinatra? No. He was better.
I did not learn much about Buddy Clark, who at 37 was killed in an
airplane crash in downtown Hollywood on Beverly Blvd, as he was
returning with five friends from a Stanford football game; he was the only
one killed in the crash.
Thus, in 1949 Samuel Goldberg, neė Buddy Clark, met his fate; a couple
years before Ella Geisman had become June Allyson. How many others
can you identify who adopted gentile names to camouflage their Jewish
origins?
Bette Persky, Bernie Schwartz, Issur Danielovich, Frances Rose Schorr,
Marion Levy, Muni Weisselien, Jack Garfinkel, Allan Weisfingel, Benny
Kubelsky, Asa Yoelson, Charles Bushinsky, Sara Gabor, Archibald Leach,
Chaim Liebovitz, David Kaminsky, Dorothy Kaumeyer, Mike Orowitz,
Joseph Levitch, Leonard Rosenberg, Tula Finklea, Samuel Goldfish, etc.,
etc.
The easiest name transition of all, from Jew to Irishman, was made by Lee
Jacob, to Lee J. Cobb. He barely needed to change his stationery.
Which reminds me of the story of the little old Jewish lady named Golda
Perlowitz, who didn’t show up at the fancy party thrown by her son,
a Park Avenue doctor, because she had forgotten his new name was
Prescott.
It is interesting to note that in their personal, off-screen relationships
within The Family — Hollywood and Broadway directors, producers and
moguls — always kept their Yiddish names.
It was only from the American public at large that they felt compelled to
hide their Jewish identity.
Beginning in the early sixties thru today, though, Jews no longer feel
they have to assume artificial identities to achieve success, although there
are still some throwbacks, well-known movie stars of today who have
traded in their Jewish names — Laura Horowitz for Wynona Ryder, as an
example.
Jeff Goldblum is just one well-known Jewish actor who uses his real
name. And, of course, the very Jewish Jerry Seinfeld was just about the
most popular TV sitcom of the 1990s.
So, the Golden Age of American Jewry can be defined as that period
during which Jews began to feel secure enough to be openly Jews; the
waning of that period can be defined by the erosion of Judaism caused
by the very freedom American Jews have won to be Jews openly. The
paradox is evident.
There is a wonderful story about Louis B. Mayer, head of MGM, (into
which Sam Goldwyn, the story has it, never set foot; his hatred of Mayer
is legendary). The most powerful man in 1930s and 1940s Hollywood
was Louis B. Mayer, who did everything he could to run away from his
Jewishness, except, interestingly enough, change his Jewish name. He
clung to it tenaciously.
During the heyday of the Nelson Eddy/Jeanette MacDonald musicals, it
seems that Mayer was unaffected by the lack of feeling MacDonald was
putting into one of her duets with Eddy. He summoned her to his office
and, telling her to watch him, got down on his knees and intoned the
beautiful and solemn Kol Nidre, the most moving prayer sung at Yom
Kippur, the Day of Atonement, in which a Jew begs God to spare his life
in the coming year, despite all the sins he has committed.
As Mayer sang, his renegade Jewishness escaped from every pore, and
tears poured down his cheeks.
He was no longer the motion picture tycoon; he was Louis Mayer, who
commanded the livelihoods and careers of Clark Gable, James Stewart,
Joan Crawford, Robert Taylor, Fred Astaire, Judy Garland et al.
He was just Louie, the shy little Jewish boy praying with his immigrant
family in their tiny, ramshackle ghetto synagogue.
That day in his palatial MGM office, when Mayer finally got up from the
floor, drenched in tears and perspiration, he saw Jeannette MacDonald was
also in tears. The story is that she went out and from then on poured her
heart and soul into duets with Nelson Eddy.
The Jew-Gentile-identity Hollywood hijinks of the 1930s produced even
more incidents.
For example, in 1932 David Selznick (seven years before he bankrolled
GONE WITH THE WIND) he produced SYMPHONY OF SIX
MILLION, a tearjerker about a brilliant young Jewish doctor from the
Lower East Side, who turned down fame and riches to dedicate his life to
healing the poor.
The ideal actor to portray the doctor, Selznick felt, would be a Jew who
could be expected to feel the part and thus make it particularly authentic.
But, surprisingly, no Jewish actor (with a Jewish-sounding name) was
available,
So, after much searching, Selznick finally cast as the idealistic doctor a
young Latin actor named Ricardo Cortez, whose dark good looks were
sufficiently Jewish-looking enough to convince a movie audience that
Cortez was Jewish — he played the part so well that both he and the
movie received much acclamation.
Small wonder.
Ricardo Cortez’s real name was Jacob Krantz, and the story is that not
even his co-star, Irene Dunne, nor David Selznick, nor the critics, nor
anyone else, knew he was, in fact, a Jew.
Also, a famous Broadway play of the late 1920s was COUNSELOR
AT LAW; a tale of a Jewish immigrant kid from the Lower East Side
named George Simon who rises to become one of New York City ’s most
powerful and sought-after lawyers.
The play starred Paul Muni as Simon. When Hollywood bought the play
to turn it into a movie, its director, William Wyler, pleaded with Muni to
play the part on screen. Muni refused; he feared being typecast as a Lower
East Side Jew, which, of course, is exactly what he was.
So the part went to that charismatic gentile, John Barrymore, who played
it brilliantly. Nevertheless, already in the early stages of his alcohol-
caused dementia, the Great Barrymore had trouble learning the Yiddish
phrases that would make him convincing as a New York Jew – phrases
that Muni, of course, could toss off in his sleep.
Jesus H. Christ, allegedly had a sign nailed to his cross, which announced
he was the KING OF THE JEWS. Which he was not, and a sign that I do
not believe appeared on the cross.
So, although at age 82, I might prefer to be Stephan D. Goran-Ivanĕseviċ,
I will remain yours, as always, Robert A. Mills.
Robert A. Mills
Copyright© 2013, all rights reserved
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