The opening controversy surrounding the fall movie season is not solely about Bradley Cooper’s nose in the film Maestro. While the prosthetic nose in question has sparked strong sentiments and debates, it is important to address the underlying attitudes about acting and Jewish identity. However, before delving into these topics, it’s necessary to dismiss the term “Jewface” as an inaccurate and unhelpful analogy. Unlike ethnic and racial caricatures associated with blackface, brownface, and yellowface, Jewish identity is not solely based on a specific set of physical features. Additionally, in the past 50 years, there has not been a concerted effort to prevent Jewish actors from playing Jewish or non-Jewish roles. Jewish actors have played a range of characters, including non-Jews, mafiosi, Nazis, and American WASPs. The interchangeability of Jews and Italians on casting lists has been accepted until now. While some current examples of cross-religious casting may seem humorous on the surface, the actor’s religious practice should not be dictating their ability to portray a character convincingly. Ultimately, the emphasis should be on talent and commitment rather than religious background. However, there has been an increase in objections to such casting choices, as seen with Kathryn Hahn being warned away from playing Joan Rivers and the casting choices in The Fabelmans and Maestro. These objections overlook the filmmaker’s authority in selecting actors and their creative vision. Turning to Bradley Cooper, the recent criticism emphasizes the notion that non-Jewish actors rely on stereotypes, such as a big nose, to portray Jewish characters. This criticism ignores the fact that in Maestro, Cooper utilized other cosmetic alterations to resemble Bernstein, and certain shots suggest he has done an impressive job. While some argue that Cooper should not be playing the role at all, it is important to remember that acting is centered around expressive empathy and the ability to inhabit someone different from oneself. The frustration lies in the notion that acting roles should only be awarded to individuals whose personal attributes align with the character, which undermines the essence of performance and artistic creation.
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