Simply A Masterpiece

By the time the dramatic fireworks start popping off, each one feels earned.

This film is so real. It treats its characters with so much care and sensitivity.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

The intense rush of nostalgia that Aviva Kempner's film floods the audience with is carefully interrupted with well-placed--though brief--darker sides of the facets of Gertrude Berg's extraordinarily unique life. For instance, we're shown the close relationship with her mother in earlier years, but later told a more troubling aspect which adds depth but never spoils Berg's optimism that was such a hallmark in her material.This technique is constantly employed and keeps us engaged with one exception: The McCarthy era is given a longer sequence into how the Red Channel affected those in Berg's circle and brought shame to a country that ironically also provided opportunity to many mentioned in the film, many of whom were broken beyond repair by rumor and suspicion.There's generous archival footage that covers the entirety of Berg's life, and reminds us of her contribution not only to early radio and television, but of a rare driven talent that can still touch us today. We're fortunate this film was made when it was since some of the original cast and friends and colleagues provide primary source material. This is a warm and loving portrait that also touches on difficulties most pioneers face.

It is always fun to go back and see the early days of TV. Coming as it did mostly or frequently from radio, this early look at a woman that was as popular as Oprah in her day.To see a strong woman like Gertrude Berg, who came from a difficult childhood due to the death of her brother and the resulting mental difficulties that beset her mother, develop a character and a family show that everyone in the country followed, was amazing.To see people like Edward R. Murrow and Ed Sullivan, and the evil red scare that brought about the show's eventual demise is a telling reminder of why Fox News and the Tea Party is so dangerous today.It was an enjoyable journey into the birth of TV, and the birth of sitcoms.

If you liked "Good Night and Good Luck," one of the most under-appreciated movies of the last few years, you will also enjoy this movie, which is being marketed the wrong way and will probably miss its most potentially appreciative audience.Unlike GNAGL, this is a documentary. It raises a lot of fascinating questions that it does not pursue, and that can get frustrating at times. Why, since it had been such a hit - and it was - on radio in the 1930s was the radio show canceled in 1946? What reasons did CBS give for not wanting to pick up the TV program that Gertrude Berg developed out of it, when so many early TV programs were in fact continuations of popular radio programs? A lot of the 50+ year old recollections of people who heard the radio program or saw the TV program don't ring true, and are really a misleading waste of time. Several of those people remark, for example, that "no one saw the Goldbergs as Jewish, but just as a family," yet Ruth Bader Ginsberg, who I believe is one of those who says something to that effect, also recounts that on her first day on the Surpreme Court, Thurgood Marshall addressed her as Mrs. Goldberg. Obviously, American audiences viewed the Goldbergs as not just any American family, but as a Jewish family.On the other hand, a fair amount is made of the originality of portraying a Jewish family on the radio (and then TV). This is completely out of context, and again very misleading. Most of the big figures in 1930s radio and early television were Jewish - Jack Benny, Milton Berle, Fred Allen, Burns and Allen, etc. - and on radio there was Fanny Brice. How was "The Goldbergs" different from those programs?At one point the issue is raised of whether the program presented Jews as negative stereotypes. This is hastily dismissed with a remark that unlike Amos and Andy, who on radio had originally been acted by two white men, Berg chose only Jewish (the exact word is Yiddish) actors to take roles in her show. But that doesn't prove that the characters weren't negative stereotypes, as Amos and Andy continued to be when it moved to TV and was played by Black comedians. That line also gets forgotten when it is explained that for TV Berg picked a gentile to play the part of her son, a fascinating issue that gets no development.There are also simple factual errors. When the narrative gets to the beginning of "The Goldbergs" on radio, it is stated that there were two radio networks: ABC and CBS. There were, in fact, two radio networks then, but they were CBS and NBC. ABC was not sprung off NBC until World War II. There are other historical errors as well.All of the foregoing is negative commentary, I realize. Please do not read it as saying that I did not enjoy the movie, however. Quite to the contrary, I was fascinated by every moment of it. Berg turns out to have been a very intelligent, fascinating workaholic, and is presented as interesting enough by this movie that you want to know a LOT more about her and how she was viewed during her time.Anyone with an interest in the blacklisting of the McCarthy era and the beginnings of network radio and television will find this movie fascinating, as I did, and I heartily recommend it. But it leaves you, or at least me, wanting to know so much more. I can only hope this leads to a new interest in Gertrude Berg and the shows she created, so that we can get answers to some of those questions.

Gertrude Berg was a force to be reckoned with. In 1929,she produced, wrote & acted as the head of a Jewish American household,by the name of Tilly Goldberg,in a series called,The Goldbergs (how original!). Five times a week,America tuned in on the original Jewish mama,and her family. The series made it to early television in 1949,and was a runaway hit.Gertrude Berg even wrote the commercials that intertwined with the episodes (one minute Tilly would be talking about recipe's,then seamlessly segueing into an ad for coffee). Aviva Kempner (The Life & Times Of Hank Greenburg)directs a pleasant enough documentary of a pioneer of early television,who by the end of the 1950's,was pretty much forgotten in the wake of Lucille Ball,etc. During it's initial run (1949-1951),the show experienced an unpleasant run-in with the goon squad that was the House Of Unamerican Activities Commitee (H.U.A.C.),due to the fact that co star,Phillip Loeb was an accused Communist sympathizer. When sponsors started pulling out funding for the show,Berg was forced to replace Loeb with another actor to play her beloved husband (only after the show went on a brief hiatus). When the show was revived (on another television network),the letters of protest over Phillip Loeb being replaced flooded the network, but it was already too late (I won't spoil it by revealing what happened).The series would continue to run until 1955,when it was eventually phased out. The film gets support from spoken testimonies from such personae as Supreme Court Justice,Ruth Bader Ginsburg,and producer,Norman Lear (creator of 'All In The Family','Maude' & 'The Jeffersons'). The film also gets some nice mileage from original grainy black & white kine scopes of 'The Goldbergs',as well as the one off feature film,'Molly'(also known as 'Meet The Goldbergs')from 1950 (basically an extended 90 episode,minus the commercials). This film will be of interest to anybody who follows early television,or obscure pop culture. Not rated,but contains absolutely nothing to offend even the most blue-nosed prude.