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So Nu?

by Sydney Levine
May 24, 2010 9:50 AM
1 Comment
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This is too good to be true. Czech producer Rudolf Biermann and German producer Jens Meurer of Egoli Tossel are casting legendary Fiddler on the Roof star Topol who is now 74 in a US$5 million Yiddish language version of The Golem. The classic Frankenstein story of a clay statue brought to life by a rabbi to protect the Prague ghetto from anti-semitic pograms is being written by Stuart Urban of U.K. company Cyclopos Vision as a U.K.-Czech-German coproductio. It start next year in Prague.

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1 Comment

  • SydneyLevine | June 22, 2010 12:27 PMReply

    Dear Sydney

    Thanks for mentioning The Golem, which I am writing and directing (not producing, for the moment, as stated in Screen!).

    You may be interested to know that IndieWire actually broke the story in its 2nd April interview with me about my feature doc Tovarisch, I Am Not Dead : http://www.indiewire.com/article/stuart_urban_on_tovarisch_presto_the_elements_of_a_movie_were_there_watch_i/

    If you would like to know any more about Tovarisch, you can see at www.tovarisch.net. The film chronicles my father’s escape from Holocaust and Gulag, and his journey from shtetl to possible KGB agent. Let me know if you would like a screener. As for “Goylem der movie”, don’t hesitate to ask! I am enjoying your blog.

    Best wishes,

    Stuart Urban
    Cyclops Vision Ltd
    London SW14 8RZ
    www.cyclopsvision.co.uk
    ------------------------------

    Thank you Stuart. I knew I knew your name! I'd would love to see Tovarisch. I've read a lot about it and love Jewish stories and stories about or by sons of fathers who were in some way outstanding.

    Is your doc being distributed in U.S.? Is it also on Snagfilm? So glad to hear IndieWIRE has covered you already.

    Thanks, Sydney

    -----------------------------------
    Snag Films has put up the film online, also iTunes (who is quite choosy about small docs). However, despite its respectable showing (40+ playdates including 2 weeks at our National Film Theatre) and rave reviews on its U.K. theatrical release in 2008, no U.S. theatrical outlet has taken up the film to date. I worked with a couple of “mittschleppers” as my father would have called agents/ middlemen, but they have not netted results. Anyway, at least the MoMA Documentary Fortnight liked it and gave it a U.S. premiere!

    Best wishes,

    Stuart Urban
    Cyclops Vision Ltd.

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