COMMENTARY: On `Keeping the Faith’

c. 2000 Religion News Service (Rabbi Rudin is the national interreligious affairs director of the American Jewish Committee.) (UNDATED) “I’m in love with the rabbi.” No, those are not the words uttered by an egocentric rabbi looking into a mirror. Rather, they are said to a young Catholic priest by the female star of the […]

c. 2000 Religion News Service

(Rabbi Rudin is the national interreligious affairs director of the American Jewish Committee.)

(UNDATED) “I’m in love with the rabbi.”


No, those are not the words uttered by an egocentric rabbi looking into a mirror. Rather, they are said to a young Catholic priest by the female star of the current film, “Keeping the Faith.”

Confused? Don’t be. This pleasant and amusing movie focuses on a rabbi and priest of the thirty-something generation who have been best friends since grade school.

As “Keeping the Faith” opens, the two chummy clergymen are bringing some badly needed spiritual pizzazz to a pair of dormant congregations on Manhattan’s trendy Upper West Side. But life becomes more complicated when the pals’ close friend from their school days, now a beautiful woman, returns to New York City after living in California for 16 years.

Will the priest, played by Edward Norton (who also directed the film) maintain his vows of celibacy when blond leggy Jenna Elfman, a high-powered business executive, fires up his long dormant lust? What happens when the single rabbi (Ben Stiller) becomes sexually involved with the non-Jewish Elfman character? And what happens to the halcyon camaraderie of the two clergymen when a woman dramatically re-enters their lives?

Not to worry. Norton remains true to his calling despite some heavy sweating and a long talk with an older priest (Milos Forman). Stiller makes a dramatic Yom Kippur public confession to his congregation about his non-Jewish bedmate, and immediately throws his job as assistant rabbi into jeopardy.

But not to worry here either. Stiller’s sensitive mother (Anne Bancroft) and his senior rabbi (Eli Wallach) help him over the rough shoals.

The movie ends with everyone living happily ever after. Stiller keeps his job, Norton recommits to the priesthood and celibacy and Elfman takes instruction in Judaism from Wallach. The priest, rabbi, and business executive are once again a yuppie trio romping together through the fun spots of today’s New York City.

Although Stuart Blumberg’s script has a frothy exterior, “Keeping the Faith” does break some new ground for Hollywood films. For decades the silver screen’s frequent portrayal of Catholic priests has either been the do-gooder founder of Boys Town played by Spencer Tracy, the sugary pleasant Bing Crosby, or the flinty irascible Barry Fitzgerald. And, of course, don’t forget the anonymous movie priest who usually conducts a funeral under an umbrella during a driving rainstorm.

But Norton’s 30-year-old priest is quite different. Along with his rabbinical buddy, Norton wants to open an “ecumenical karaoke club.” He, of course, seeks to inspire his flock, but begins badly when he sets himself on fire while swinging an incense container.


The two clergy friends strut together as the West Side’s “God Squad” decked out in dark shades, tight jeans, and leather jackets. In several scenes Norton keeps his clerical collar out of sight _ not to hide his vocation but because the collar sometimes blocks genuine encounters with fellow human beings.

Happily, Stiller’s rabbi is not the one-dimensional caricature often seen in films or on TV. I still become angry when I remember Woody Allen’s movie rabbis. In his earlier films, rabbis were often absurd cartoon figures or in Allen’s later works, the rabbi is both bland and blind as in “Crimes and Misdemeanors.” Of course, Jerry Seinfield’s TV rabbi is a garrulous pompous fool who can not keep personal confidences.

In “Keeping the Faith,” the young rabbi is neither foolish nor bland. Indeed, Stiller’s character reminded me of many colleagues in his zest for the rabbinate and the survival of Judaism combined with a total involvement with modern American society.

Playing two older clergy, Forman and Wallach provide the needed emotional ballast for the film. Puffing on a large smoky cigar, Forman tells Norton that although he “falls in love with a woman” every decade or so, he has remained faithful to his priestly vows. Wallach defends his young rabbinic protege when the synagogue president seeks Stiller’s dismissal following the latter’s Yom Kippur confession.

The movie reminded me when I was an unmarried rabbi in a large congregation. I roared with knowing laugher when many mothers in Spiller’s movie synagogue eagerly “introduce” (translation: “try to marry off”) their eligible daughters or nieces to the young single rabbi.

“Keeping the Faith” is not likely to win any Oscars, but after seeing hundreds of movies about cowboys, lawyers, soldiers, and physicians, it’s refreshing to see a film dealing with the clergy in a comedic and knowing manner. My yarmulke’s off to those who made “Keeping the Faith.”


DEA END RUDIN

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