Now he has no such option. Imprisoned by a captor who wants something from him, he’s faced with the urgent query of find out how to fight back. He chooses to make use of his skills in mental health to assist his oppressor improve. The deeper he gets in dialogue, though, the more uncomfortable Alan grows, especially after he teaches the murderer the Kaddish, the Jewish prayer for the dead, after which sees it getting used to mourn his latest victims.
In some ways, the connection at the middle of “The Patient” is a metaphor for each the lengths Jews will go to increase empathy toward their oppressors and for the existential toll that takes. Playing a person wracked by guilt, grief and doubt, Carell is incredibly subtle illustrating how accommodation may be justified and yet wear you down. We also see scenes in his head of him talking to a shrink (David Alan Grier) who asks why he doesn’t fight back, attack the killer. To which Alan replies: “I’m using what I actually have.” Grier, a figment of his imagination, flashes a glance that implies he doesn’t imagine that.
Similarly, “The Fabelmans” and “Armageddon Time,” two personal movies by Jewish directors dramatizing their very own childhoods, grapple with the query of what weapons Jews have. In each, sensitive boys facing antisemitism at college struggle with find out how to get up for themselves.
“The Fabelmans” isn’t a movie about being Jewish a lot because it is suffused with Jewishness. But when its young protagonist, Sammy Fabelman, moves to California within the Nineteen Sixties, he’s confronted with Aryan boys who mock his religion and with gentile girls intrigued by it. He happily prays with one girl but puts up a fight with the bullies, who at first appear to be the cartoon villains from early Spielberg movies. Probably the most dramatic way Sammy pushes back is by putting his antagonists in a movie. After filming his classmates on a visit to the beach, the footage, shown to the entire school, makes one bully look ridiculous and one other glamorous, larger than life. Oddly, being romanticized by the Jewish kid he beat up rattles the bully greater than any insult. His discontent within the face of this attention is probably the most baffling section within the movie, one which has the ring of some extent being made. But what’s the point?
Is the antisemite feeling shame? If that’s the case, Spielberg is working hard to increase empathy. But this exchange also rattles Sammy. When the bigot demands to know why Sammy made him seem like a star, the response sounds pained and unsure: “Perhaps I did it to make the movie higher?”