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January 29, 2009

Boston Globe reviews Wicked Wit

"Irreverent brilliance... brimming with delectable anecdotes... like leafing through a scrapbook with your favorite crotchety uncle."

That's the short version of the Boston Globe's review of The Wicked Wit of the West.

Here's the full version:

Making 'em laugh
By Mark Griffin Globe Correspondent / January 29, 2009

In 1964, Groucho Marx was asked which of his contemporaries he considered fastest on the draw in terms of "one-line impromptus." Marx replied, "George S. Kaufman, Oscar Levant, and Irving Brecher." Irving Brecher? Before his death last year, at 94, screenwriter and professional curmudgeon Brecher was one of Hollywood's best-kept secrets. Which is surprising when you consider that he turned out scripts for the likes of Fred Astaire, Judy Garland, Dick Van Dyke, and Lucille Ball.

While even the most devout movie buffs may not know Brecher's name, his contributions to cinema are unforgettable. The sight of Groucho wooing matronly Margaret Dumont in "At the Circus" may have been a rib-tickler to begin with, but it was Brecher's inspired dialogue that made their pairing truly hilarious: "We were young, gay, reckless! That night I drank champagne from your slipper. Two quarts. It would have been more, but they were open-toed. Ah, Hildegard!"

Thankfully, that kind of irreverent brilliance is on ample display in "The Wicked Wit of the West," Brecher's entertaining memoir written in collaboration with erudite disciple Hank Rosenfeld. With chapters titled "The Angel of Death, in Yiddish" and "Girls! Berle! Catskills!," the reader is immediately alerted to the fact that this overview of Brecher's multifaceted career is far more Buddy Hackett than John Houseman in tone and, therefore, a lot more fun.

Brimming with delectable anecdotes and presented as a series of engaging interviews, Brecher's look back is like leafing through a scrapbook with your favorite crotchety uncle.

A sizable chunk of the memoir recounts the gag-master's friendship and screen collaborations with Groucho, Chico, and Harpo Marx, and it's interesting to discover just how much of their sublime lunacy is attributable to their favorite scribe. For all his success with raucous comedies, it was Brecher's script for a sumptuous period musical that brought him his greatest acclaim and an Academy Award nomination. A slew of screenwriters had taken a crack at adapting Sally Benson's "Kensington Stories," which had been serialized in The New Yorker. Character driven and virtually plot free, Benson's nostalgic tales concerned her quirky family in turn-of-the-century St. Louis. Brecher not only distilled the essence of Benson's prose in his masterful screenplay for "Meet Me in St. Louis," he also persuaded a reluctant Judy Garland to star in the film. Released in 1945, the movie was both a critical and commercial triumph.

Brecher next authored a pair of offbeat MGM musicals that were costly flops in their day, though both have achieved cult status: Vincente Minnelli's Dadaist fantasy "Yolanda and the Thief" and Rouben Mamoulian's "Summer Holiday," a variation on Eugene O'Neill's "Ah, Wilderness!," and an attempt to replicate the phenomenal success of "Meet Me in St. Louis." In the '50s, Brecher was blacklisted, and although he managed to find work in television, a period of artistic decline followed. In 1963, he bounced back with a splashy adaptation of the Broadway smash "Bye Bye Birdie" starring Ann-Margret, though this proved to be his last major studio production.

In later years, Brecher was a much-sought-after interview subject, since he could be counted on for eminently quotable observations on his colleagues (on John Wayne: "The brave, patriotic hero of Hollywood who went and fought three war films for his country"; on Bob Hope: "I was surprised that Bob Hope died, because there's no money in it").

Brecher elevated the wisecrack into an art form and wrote some of the most original films of the studio era. After feeding lines to some of Hollywood's finest, the "wicked wit" finally gets the last word in this irresistible memoir.

Mark Griffin is the author of a forthcoming biography of director Vincente Minnelli.


Posted by yudel at 9:13 PM

January 28, 2009

Quandary for Hebrew: How Would Isaiah Text?

The New York Times discovers the continuing crisis of the Hebrew language:

Hebrew was never actually dead. It was more like an unborn child, according to Ariel Hirschfeld, a Hebrew literature lecturer at the Hebrew University of Jerusalem, slowly developing over the centuries as the language of Jewish letters and prayer. Educated Jews would read the weekly Torah portion in Hebrew, while sages from Prague to Baghdad would correspond on religious questions in their only common tongue.

But the linguistic reincarnation came with the birth of modern Zionism and was largely driven by one man, Eliezer Ben-Yehuda, who was born in a Lithuanian village 150 years ago and immigrated to Palestine in 1881.

The classical Scriptures provided words for concepts like justice, mercy, love and hate, but not for more mundane things like “office” or “socks.” So Mr. Ben-Yehuda started inventing new words, mostly drawn from ancient biblical patterns and roots....

Now the academy continues the quest for new words, trying, with partial success, to introduce authentic Hebrew equivalents for foreign terms before they stick. In the country that invented instant messaging, that can often mean a race against time. So a text message is now officially called a “misron,” from “meser,” the word for message. The proper Hebrew for talk-back, commonly pronounced “tokbek,” is “tguvit,” a diminutive of “tguva,” response.

Posted by yudel at 3:59 PM | Comments (0)

January 10, 2009

Author Magazine loves the Wicked Wit

Over at AuthorMagazine.org, Kevin Lauderdale reviews The Wicked Wit of the West, and loves it:

When Brecher died late last year, he left behind a legacy of decades of film, television, and radio writing. Fortunately for posterity he also had just completed his memoirs.

Largely told through anecdotes of three or four pages, Brecher takes us from the 1930s through the 60s. He got his start writing for notorious joke-appropriator Milton Berle by advertising himself as a provider of "Berle-Proof Gags. Jokes so bad, not even Milton will steal them." This drew the comic's attention, and Brecher became one of vaudeville's hottest writers. He went to Hollywood and was soon hanging out with, as well as writing for, the Marx Brothers. His adventures with Groucho, professional and personal, fill a delightful chunk of the book.

When he's not quoting notables from Hollywood's "Golden Age," Brecher is dropping one-liners about the actors he worked with ("She was no star. She wasn't even an asterisk.") and befriended (At 101, George Burns had "not one single enemy. They all died."), as well as life in general (Interviewer: "If you had a robot, what would you want it to do for you?" Irv: "Go to my proctologist.").

It's only January, but the odds on any other book coming out this year being funnier than this are very slim. Brecher was a script doctor on The Wizard of Oz, adapted a series of New Yorker short stories by Sally Benson into the Judy Garland classic Meet Me in St. Louis, and created The Life of Riley, a hit radio show that became the first televised sit-com.

We are fortunate to live in an era where most of Brecher's work is readily available. Many of his movies are on DVD, and the radio shows are available on CD and in MP3 compilations. If, looking at the book's cover, you recognize only Judy Garland and Groucho Marx, you owe it yourself to complete your comedy education. Let this book be your guide.

Posted by yudel at 4:17 PM