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Article Excerpt
Abstract: Avraham Heffner's film Laura Adler's Last Love (Israel, 1990)focuses on an admired Israeli Yiddish theatre star and her colleagues in a Tel Aviv theatre company in the 1980s. This essay reviews the cinematic articulation of the actress performing in a diasporic, almost forgotten Yiddish language while living in a Zionist Israeli culture dominated by the Hebrew language. The film presents Yiddish diva Adler's as a member of several minorities simultaneously, struggling to maintain her disappearing heritage. She is often depicted as a melodramatic, colorful and campy drama queen, hence revealing the theatricality and arbitrariness of mundane heteronormative codes of sexual (mis)conduct and opens.
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Avraham Heffner's film Laura Adler's Last Love (Israel, 1990) focuses on an admired Israeli Yiddish theatre star and her colleagues in a Tel Aviv theatre company in the 1980s, her success, love life, intense relationship with her longtime female companion and personal assistant, and the star's terminal disease. The cinematic articulation of the actress focuses on her performance in a diasporic, almost-forgotten Yiddish language, living in a Zionist Israeli culture dominated by the Hebrew language. (1) As a member of a linguistic minority, Laura Adler (Rita Zohar) feels like a foreign star, an exile in her own country. She is admired by her fellow actors and actresses in the theatre group performing Yiddish plays in small theatres for a decreasing number of elderly audiences, recycling cliched melodramatic plots full of romantic intrigues, sexist jokes, Jewish-Orthodox Hassidic dancing and emotional...
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