F for Dysfunctional:
The Fantastic Four "Family" Returns
By: Rabbi Simcha Weinstein
The Comic Book Rabbi

The summer wedding season is here, and even comic book characters getting into the act. In the upcoming blockbuster movie, Fantastic Four: Rise of the Silver Surfer, the First Family of superheroes will meet their greatest challenge yet: marriage!

The Invisible Woman and Mr. Fantastic are finally about to tie the knot, but before we can say “mazeltov”, their new nemesis, the Silver Surfer, ruins the big day. This metallic, intergalactic villain (who looks like an Silver-dipped, Academy Award come to life) is here to prepare the Earth for destruction. And only the Fantastic Four can stop him.

The Silver Surfer turns out to be a herald of Galactus, the devourer of planets (talk about over eating!). The Silver Surfer was once an ordinary humanoid until Galactus threatened his planet. In return for sparing his home, Galactus transforms him into the Silver Surfer, charged with seeking out planets for Galactus to destroy.

The idea for the all powerful Galactus character apparently came about when the comic’s creator suggested having "the Fantastic Four battle God.”

How did things get so theological? The Fantastic Four were created by the Jewish dynamic duo of writer Stan Lee and artist Jack Kirby for Marvel Comics in 1961. My book Up, Up and Oy Vey! How Jewish History, Culture and Values Shaped the Comic Book Superhero reveals the fascinating Jewish motifs and values in popular comics, including the Fantastic Four. Unlike other superheroes, the Fantastic Four did not rely on double identities and disguises. In their alternative world, they were actually high-profile celebrities, headquartered on New York's Fifth Avenue.

The family dynamic among the four characters was unmistakable from the start. Prior to The Fantastic Four, the family unit was never explored within the comic book genre. Superheroes tackled the dirty work of saving the world alone and only worked together out of necessity. The Fantastic Four were different. In the comic, once Invisible Woman and Mr. Fantastic married, the team became, quite literally, a family. Three of the four are directly related -- the Human Torch is the Invisible Woman’s brother. Lastly, The Thing (Ben Grimm) takes the role of crusty uncle, stubborn child, and bratty teen all rolled into one bulky package.

The family is the very heart of the Jewish community, the vessel through which moral values and spiritual practices have been handed down for thousands of years. After the destruction of the holy Temple, the traditional Jewish home took on many of its functions. Shalom Bayit is the term given to the promotion of peace and harmony within the home, and The Fantastic Four depicts this ongoing struggle for peace within a family. While they are often, quite literally, at each other's throats, these characters also willing to risk their lives for the safety of their "family.”

Over the years, Fantastic Four fans have felt particular affection for that misunderstood creature The Thing. The Thing has extreme strength, is impervious to bullets, and can endure intense physical pain. However, he’s not immune to emotional pain.

In many ways, The Thing personifies his creators’ Jewish origins. The Thing's real name is Benjamin Jacob Grimm. Born on the "earthy" Lower East Side of Manhattan, he belonged to the Yancy Street gang in his youth. Young Jack Kirby fought street gangs on the Lower East Side, too, where Delancy is the main street.

Grimm's youth comes back to haunt him in the famous 2002 issue, "Remembrance of All Things Past". In this comic, released some forty years after his debut, the Thing's true Semitic identity is finally revealed, He’d previously kept it a secret, explaining sadly, “there’s enough trouble in this world without people thinking Jews are all monsters like me.”

While Judaism has its roots in the accomplishments of powerful patriarchs and matriarchs, a special emphasis is also placed upon the tribe: the synthesis of everyone's talents for the greater good. The Hebrew word for tribes, shevatim, means a "branch," alluding to their separate yet united nature. In Lee and Kirby’s universe, not even superheroes live in a vacuum. Sometimes they have to rely on their fellow super-colleagues to assist them when the going gets tough.

In an age of terror, more than ever we all need a return to family values, working together to combine our powers and talents for the greater good. Even a flashy Hollywood movie based on a popular comic book can be a way to convey this important message (in between on screen explosions and corny jokes, of course.)

Will an encounter with a real, loving family cause the Silver Surfer to stand up Galactus and save the world from destruction? We’ll find out when the Fantastic Four return to a multiplex near you soon.

The copyright © for all articles on this web site rests with the author. You may not copy or repost any article or parts therein without written permission and full acknowledgment of the source of the article. To obtain permission email us at webmaster@rabbisimcha.com

Spirituality in Spandex
By: Rabbi Simcha Weinstein
The Comic Book Rabbi

If you've taken public transportation lately, glanced at a supermarket magazine rack or simply turned on the TV, by now you know that one very popular, web-slinging superhero is about to swing back into your friendly neighborhood multi-plex.

In the third and latest installment of the Spider-Man movie franchise, everyone's favorite arachnid hero is seduced by his shadow side. As the Spider-Man motto puts it, "With great power comes great responsibility", but this time around, Spider-Man and his good guy alter-ego Peter Parker discover that it also comes with great temptations to evil. Spider-Man is about to go off the derech.

Spidey's costume has mysteriously changed from familiar blue and red to pitch black; in fact, the costume is actually an alien, shape-shifting symbiote that feeds on Peter Parker, making him more aggressive and less inhibited. Intoxicated with ego, power and celebrity, not even a superhero like Spider-Man is able to resist the forces of darkness.

In Spider-Man 3, Parker's former best friend Harry Osborne becomes his worst enemy. Harry adopts the persona of the villainous New Goblin, determined to avenge the death of his father, the Green Goblin, who Spider-Man defeated in a previous film.

Our man Spidey is preoccupied with a vendetta of his own. Police finally re-discover the identity of the man who killed Peter Parker's unerringly decent role model and father figure, Uncle Ben: petty thief Flint Marko. In the long standing tradition of comic books, Marko is a tragic figure: his small daughter has a deadly disease and he has no health care benefits. Then a mishap at an energy test site turns Marko into Sandman, a nasty, shape shifting sand-castle. Another new Spider-Man nemesis is born.

Meanwhile at the Daily Bugle, Peter the intrepid photographer encounters new competition in upstart Eddie Brock. Their overbearing boss J. Jonah Jameson pits the young men against each other, dangling the promise of one full time gig, with benefits, to the best paparazzi. Clearly Brock wasn't blessed with as noble a role model as Peter's Uncle Ben; when Peter throws away his sinister new black suit, it finds a new home in Brock, who is promptly transformed into the evil fanged Venom — yet another villain for our hero to tackle.

Things have come an awfully long way since Bronx born, Jewish comic book pioneer Stan Lee conceived of the character of Spider-Man in 1962. Many believe that Lee (born Stanley Martin Lieber) gave his creation a somewhat Jewish world view. After all, Peter Parker is a dark-haired, bespectacled, Woody Allen-esque nebbish burdened with stereotypical Jewish neuroses. Peter Parker's guilty feelings over his accidental role in the death of Uncle Ben (which we now find out may not even be true) has led to further talk of the character's Jewishness. Jewish author Michael Chabon (who co-scripted Spider-Man 2) claims that Spider-Man is "crypto Jewish": "You know, living with Uncle Ben and Aunt may in Queens." While the director of all the films in the series, Sam Raimi, quips, "the only difference is that [Peter's guilt] is caused by his uncle, not his mother."

Now, living in Queens does not make a person Jewish (no matter how many Jews live in Spidey's Forest Hills neighborhood) but we can still draw some biblical reflections from the latest saga, with its strong father and son theme. The great 13th century Jewish scholar Nachmonides famously taught that, "the actions of the fathers are a sign for the children." Through the bible we see that the deeds of the earliest characters in the narrative will be repeated by their children. Character traits and behavior patterns of the early patriarchs and matriarchs -- are a model for all of Jewish history. Learning from the past is the secret to making the right decisions about the future.

According to the Talmud, people are born with two opposing impulses: the yetzer hatov, the impulse to do good, and the yetzer harah, the impulse to do evil. Jewish sages have noted that the yetzer hara is not completely evil, but more like a selfish impulse, which needs to be balanced with the yetzer hatov. Spider-Man's strange new black suit and the feelings of unhealthy empowerment that come with it are clearly part of the yetzer harah. Fortunately, Spidey's Uncle Ben helped form our young superhero's conscience from an early age. Sadly Harry Osborn, Flint Marko and Eddie Brook were not blessed with such a role model. With all his incredible powers, it is only that innate, very human sense of decency that helps our hero ultimately resists the temptations of the dark side.

The Hebrew word teshuvah means "return." Although often mistranslated as "repentance," the word really means returning to the proper path of infinite potential. By letting go of our demons, we can embrace the greatest power of all, the power to forgive. Will Spider-Man display true heroism and banish his own demons in a spirit of forgiveness? We'll all find out when he makes his own long awaited return this spring. Rabbi Simcha Weinstein, the "Comic Book Rabbi," is the founder of the Jewish Student Foundation of Downtown Brooklyn, an educational and cultural center that strives to ignite pride and commitment through innovative educational and social experiences in an open environment. A sought after television and radio guest, he has been profiled in many publications. He is also the author of the new book "Up, Up and Oy Vey! How Jewish History, Culture and Values Shaped the Comic Book Superhero"

The copyright © for all articles on this web site rests with the author. You may not copy or repost any article or parts therein without written permission and full acknowledgment of the source of the article. To obtain permission email us at webmaster@rabbisimcha.com

Jewperheroes!
By: Rabbi Simcha Weinstein
The Comic Book Rabbi

For most of my life, I lived a Clark Kent existence: that of a Jew residing in Manchester, England, intent on blending into the modern, secular world. I kept my Hebrew name a closely guarded secret; my desire to assimilate required no less. A degree in film history led to a job scouting movie locations. My work was exciting, even a bit glamorous, but something was missing.

Seeking to fulfill needs that were not met by MTV and materialism, I set out to meet my great-great-grandparents and finally learn about my Jewish heritage. Trips to Israel followed, where I enrolled in the life-changing Mayanot Institute, a Chabad yeshiva in Jerusalem. I eventually reverted to my Hebrew name (from Simon to Simcha). My transformation was complete.

Yet I never entirely lost my love of pop culture. When marriage brought me to New York City, I began thinking about all the Jewish writers, artists and editors who'd lived and worked there too – and who'd created a whole new art form: the comic book. As the rabbi of the esteemed Pratt Institute – the very school many comics pioneers once attended – I began to wonder why comic books had been invented in that particular time and place, by those particular men.

Every Friday night, my wife and I cram a crowd of Jewish Pratt students into our tiny, over-priced Brooklyn Heights apartment. (We often have so many guests we have to double slice our gefilte fish!) While my two sons, ages three and one, play around under the table, we grown-ups discuss the meaning of life, over copious bowls of steaming chicken soup, until the wee hours.

Interacting with these gifted art students challenged me, as a rabbi, to look at those early comic book pioneers from a new, theological perspective. I re-read the classic superhero comics of my youth – this time, through the lens of Jewish tradition and spiritual belief.

The sages expound that all human knowledge and wisdom is contained within the Bible's 304,805 letters of ink and parchment. (No wonder Jews are called the People of the Book.) The great eighteenth century chassidic master Rabbi Shneur Zalman of Liadi taught that Jews should relate the weekly Torah portion to events in their own lives, right then and there. He called this way of reading "living with the times."

As Eastern European Jewish immigrants poured into New York's Lower East Side in the early 1900's, they viewed the stories of the Bible through the prism of their struggles in a sometimes baffling new land, and passed them on to their children. And some of those children in turn retold those Jewish tales using dots of colored ink on pulp paper, beginning in the 1930's.

In those days, the shadow of persecution was descending upon European Jews once more, and no one seemed willing to come to their rescue. That decade also witnessed the rise of anti-Semitism in the United States: Nazi sympathizer Fritz Kuhn of the German-American Bund led legions of rabid followers on marches through many cities. Ivy League colleges intentionally kept the number of Jewish students to a minimum, while restricted country clubs and even entire neighborhoods barred Jews altogether.

Clearly, the world needed heroes. So even before their own country went to war with Hitler, young Jewish American artists and writers (some barely out of their teens) began creating powerful characters who were dedicated to protecting the innocent and conquering evil.

Their names include Superman creators Jerry Siegel and Joe Shuster; Batman creators Bob Kane (born Kahn) and Bill Finger and their protégé, Jerry Robinson, who invented the immortal villain the Joker; the Spirit creator and graphic novel pioneer Will Eisner; publisher Julius Schwartz, known as the "father of science-fiction comics" and the man behind the Justice League of America; Martin Nodell, the man behind the Green Lantern; Jack Kirby (born Kurtzberg) and Joe Simon, who brought the world Captain America; Max Gaines, the true father of comic books, his son William, publisher of MAD magazine, and William's partner in satire, Harvey Kurtzman; Stan Lee (born Stanley Martin Lieber), who created Spider-Man, the Incredible Hulk, the Fantastic Four and the X-Men – and his boss (and wife's cousin), Martin Goodman of Marvel Comics.

The end of World War II and the defeat of Hitler saw a brief decline in the popularity of superhero comics, but that didn't last long. After all, every generation needs archetypal heroes of its own, larger-than-life characters who evoke (sometimes blatantly, sometimes subconsciously) the eternal themes found in the Bible and within the Jewish experience.

Comic book superheroes have evolved to reflect the changing times, as well as the changing attitudes of writers, artists and readers. In the 1940's, superheroes appointed themselves saviors of a world riddled with real-life villains; their fictional exploits boosted the morale of those fighting flesh and blood Nazis, Communists and other threats to "truth, justice and the American way."

During the tumultuous 1960's, comic book characters became more complex and ambiguous: flawed, reluctant heroes with their own insecurities to cope with (when they weren't fighting crime).

Then, in the 1970's, comic books (some of them, anyway) became "graphic novels." Now more popular than ever, these comics for adults are more realistic, downbeat, "artistic." Graphic novels tend to focus on average (sometimes below average) people and their everyday lives, instead of superheroes with extraordinary powers.

The best examples of the genre also illuminate the universal human condition, lifting them to the level of literature. This difficult-to-accomplish blend of the quotidian with the cosmic gives graphic novels their depth and explains their growing appeal to younger people whose vocabulary is visual rather than verbal. Graphic novels explore the human condition in general (and Jewish American identity in particular) through the eyes of their Job-like anti-heroes. Today's Jewish graphic novelists – Bob Kanigher, Chris Claremont, Ben Katchor, Daniel Clowes, Sammy Harkham, Joann Sfar, Diane Noomin, Joe Kubert, Harvey Pekar and Art Spiegelman, to name a few – have joined the pantheon of the comic book pioneers.

Each generation of Jewish comic book creators and graphic novelists explored the ambiguities of assimilation, the pain of discrimination, and the particularly Jewish theme of the misunderstood outcast, the rootless wanderer. Again and again, the triumph of good over evil remained a central theme.

Jack Kirby – known as the King of Comics – once said, "In the movies, the good always triumphed over evil. Underneath all the sophistication of modern comics, all the twists and psychological drama, good triumphs over evil. Those are the things I learned from my parents and from the Bible. It's part of my Jewish heritage."

My new book Up, Up and Oy Vey seeks to reclaim a vital component of that heritage. While the Jewish contribution to film, theater, music, and comedy is well known, my book is the first to focus exclusively on the Jewish role in the creation of these all-American superheroes.

Just think: comic books that our mothers once tossed out as trash are now worth thousands of dollars and studied within the highest levels of academia. And, most amazingly, they actually represent an important facet of American Jewish culture. We'll never know for sure how many thirteen-year-old boys like me squirreled themselves away with a stash of comic books when they were supposed to be studying for their bar mitzvahs. The thing is, they were on to something.

Seventy years later, comics have evolved from "throwaway" escapism for kids to a multimillion dollar business encompassing movies, television, music, toys – and, of course, movies.

This year alone, the murderous monks of "The Da Vinci Code" were battered at the box office by the mutants of "X-Men: The Last Stand." Now a new superhero-inspired blockbuster seems poised to become an even bigger hit with moviegoers. Of all the comic book characters in history, one stands above the rest both as a universally recognized symbol of American values and Jewish themes. That beloved superhero finally comes home this week with the release of the movie "Superman Returns."

In this latest installment, the Man of Steel returns to Metropolis at the end of a cosmic quest: investigating the facts behind the destruction of his home planet, Krypton. And things on Earth have changed. Lois Lane, the love of Superman's life, has moved on in his absence. Worse, his old nemesis, Lex Luthor, is plotting to render the Superman powerless once and for all – and then destroy the helpless, hero-less world.

"Superman Returns" is one of the most expensive movies ever made. It's a long way from 1938, when a couple of Jewish boys from Ohio were paid $130 for the very first Superman story – and sold away their future residuals. (Today, a mint condition copy of that comic book – Action Comics # 1, June 1938 – if you're lucky enough to find one, will set you back a cool half-million bucks or more).

From the very beginning, the Superman mythos reflected his creators' Jewish backgrounds. For example, the superhero's origin story (as fans refer to it) bears more than a passing resemblance to the great Exodus tale in which Jochebed places Moses in a reed basket and sets him afloat on the Nile before he can be killed by the Pharaoh's henchmen.

Likewise, Superman's father Jor-El, launches a little rocket ship containing his son into outer space when he realizes Krypton is about to disintegrate. (Diaspora has been a tragic fact of much of Jewish history – think of the kindertransports that whisked so many children to safety from Nazi Germany.)

Superman's Kryptonian name also reveals biblical underpinnings. Superman is named Kal-El and his father Jor-El. The suffix "El" is one of the ancient names for God, used throughout the Bible. It is also found in the names of great prophets like Isra-el, Samu-el, and Dani-el and angels such as Micha-el and Gavri-el. According to Jewish tradition, Micha-el is the great combatant angel who fights Satan. He could easily be deemed the flying Superman's biblical alter ego.

The prefix of Superman's name, "Kal," is the root of several Hebrew words: "with lightness," "swiftness," "vessel," and "voice." We may never know whethe Siegel and Shuster were aware of these precise Hebrew translations; nevertheless, the name could not be more apt.

In Jewish tradition, the act of naming has been profoundly and mysteriously connected with creativity. The birth of Superman offers more examples – even the fact that Shuster and Siegel first submitted their cartoons under a Gentile-sounding pseudonym, to better their chances of getting published.

More profoundly, the two young men conceived of a brilliant idea: they gave their superhuman hero a secret identity, too, along with an alternative (and very WASP-ish) name: that of the all-too human reporter Clark Kent. Subconsciously, Shuster and Siegel had created a complex symbol of immigrant identity and assimilation.

Practically speaking, this notion of "double identity" allowed for almost endless storyline twists and thematic depth. On another level, it added considerably to the "mythology" that would eventually accrue around this fictional crime fighter. From then on, double identities became a recurring theme throughout comic book culture and mythology, with Spider-Man and Batman employing this character device to great effect.

According to the sages, we all have a double identity, just like the most enduring of the superheroes. Man is the fusion of matter and spirit, a body and soul. The body cleaves to this physical world, while the soul longs for the spiritual. Likewise, many comic book characters are reluctant heroes who often want nothing more than to give up their incredible powers.

With great power comes great responsibility," as Spider-Man says, usually in a rueful, resigned tone of voice that hints he'd much rather be an ordinary mortal. And who wouldn't want to walk away from our daunting duties and mundane cares, at least once in a while? Especially after a long, hard day of leaping tall buildings in a single bound.

But in reality, God created the world so He would "have a dwelling in the lower realms."(Hebrew:dira b'tachtonim). The likes of Superman or Spider-Man have got a tough, thankless job to do in those "lower realms," fighting for what's right, without getting much credit.

Look closely: we're all surrounded by superheroes. At the Pratt Institute, I see aspiring Jewish artists openly grappling with and embracing their faith within their work. I also see my own efforts mirrored by the brave Chabad-On-Campus rabbis (& Super-rebbetzins) who make sure that every Jewish student is aware of his or her heritage, teaching the Jewish leaders of tomorrow not to grow-up to be like the bumbling Clark Kent but rather to become Jewperheroes.

Comic book ethics are Jewish ethics. Like all of us, Superman and his colleagues are called to "perform wonders," to repair order and balance in the world. We may not do it while wearing a cape and a big "S" on our chests, but universal messages of duty and justice still come across clearly, via the unlikely vehicle of comic books for kids.

Rabbi Simcha Weinstein, the "Comic Book Rabbi," is the founder of the Jewish Student Foundation of Downtown Brooklyn, an educational and cultural center that strives to ignite pride and commitment through innovative educational and social experiences in an open environment. A sought after television and radio guest, he has been profiled in many publications. He is also the author of the new book "Up, Up and Oy Vey! How Jewish History, Culture and Values Shaped the Comic Book Superhero"

The copyright © for all articles on this web site rests with the author. You may not copy or repost any article or parts therein without written permission and full acknowledgment of the source of the article. To obtain permission email us at webmaster@rabbisimcha.com


Is it a Bird, is it a plane ....
it's you know who!
By Simcha Weinstein
The Comic Book Rabbi

Over twenty years since he last flew across the big screen, a beloved superhero finally comes home this summer with the release of the blockbuster movie, Superman Returns.

This latest installment in the Superman saga begins when the man in tights comes back to Metropolis at the end of a cosmic quest, investigating the facts behind the destruction of his home planet, Krypton. And things at home have changed. Lois Lane, the love of Superman’s life, has moved on in his abscence. Worse, his old nemesis, Lex Luthor, is plotting to render the Man of Steel powerless once and for all -- then destroy the helpless world.

Superman Returns is being called one of the most expensive movies ever made, with a rumoured budget of $200,000,000. It’s a long, long way from 1938, when a couple of Jewish boys from Ohio were paid $130 for the very first Superman story. (Today, a mint condition copy of that comic book, if you’re lucky enough to find one, will set you back almost a half-million bucks).

The 1930s and 1940s were arguably the most anti-Semitic period in American history. The German-American Bund marched legions of rabid followers through many cities, including the hometown of those two young men, Jerry Siegel and Joe Shuster, in response – the writer and illustrator invented the most famous comic book superhero of all time.

From the very beginning, the Superman mythos reflected his creators’ Jewish backgrounds. For example, the superhero’s origin story (as fans refer to it) bears more than a passing resemblance to the great Exodus tale. Jochebed places Moses in a reed basket and sets him afloat on the Nile before he can be killed by the Pharaoh’s henchmen. Likewise, Superman’s father Jor-El launches a little rocket ship containing his son into outer space when he realizes Krypton is about to disintegrate. That symbol comes full circle in the new film, when Superman journeys back to earth in the very same type of space pod.

Superman and his nebbish alter ego Clark Kent are now recognized, in retrospect, as a complex symbol of immigrant identity and assimilation -- the embodiment of the American Dream, as imagined by two second generation Jewish kids. Howard Jacobson of the London Times has called Superman, “the boy with the Kabbalistic name, the boy from the shtetl. Superman might be Jewish, but it’s only so long as no one knows he’s Jewish that he is capable of performing wonders. And you can’t get more Jewish than that.”

Superman’s ethics are Jewish ethics. Like all of us, Superman is called to “perform wonders”, to repair order and balance in the world. We may not do it while wearing a cape and a big “S” on our chests, but universal messages of duty and justice still come across clearly, via the unlikely vehicle of a comic book for kids.

According to the sages, we all have a double identity, too. Man is the fusion of matter and spirit, a body and soul. The body cleaves to this physical world, while the soul longs for the spiritual. Likewise, Superman often wants nothing more than to retreat to his aptly named mountain hideaway, the Fortress of Solitude. And who wouldn’t want to meditate up in the alps, far from mundane cares, at least once in a while? Especially after a long, hard day of leaping tall buildings in a single bound.

But in reality, God created the world so He would “have a dwelling in the lower realms." (Hebrew: dira b'tachtonim). Superman knows he’s got a tough job to do in those “lower realms”, fighting for what’s right, without getting much credit. The “real world” may not live up to your expectations: your long lost love ran off with someone else, your nemesis is out to get you, your boss doesn’t give you much credit, and the weight of the world is on your shoulders. Yet, you are right where you need to be.

That’s Superman’s dilemma, and ours, too – no wonder this unlikely comic book story has enchanted millions of readers for decades. This summer, Superman Returns is set to introduce the Man of Steel (and his very Jewish story) to a whole new generation.

The copyright © for all articles on this web site rests with the author. You may not copy or repost any article or parts therein without written permission and full acknowledgment of the source of the article. To obtain permission email us at webmaster@rabbisimcha.com

Last Men Standing
By Simcha Weinstein
The Comic Book Rabbi

The 2000 movie X-Men and its smash 2003 sequel proved that comic book sagas with complex storylines and characters are still relevant in today’s world. This summer, the uncanny mutants are back with X-Men: The Last Stand.

Details about this big budget blockbuster are a closely guarded industry secret, but a few tantalizing spoilers have leaked. Before we get into that, a bit of background for the uninitiated...

The X-Men movies are based on the comic book series launched by writer Stan Lee and illustrator Jack Kirby in 1963. The scenario is deceptively simple: an overabundance of the "X gene" has caused random mutations, spawning a race of superhumans. These powerful mutants are treated as outcasts by ordinary humans, who view them with suspicion -- and who wouldn’t be afraid of strange looking individuals with names like Beast, Cyclops and Professor X?

In other words, the mutants are victims of bigotry, just like other outsiders in other cultures through the ages. The X-Men are even divided among themselves. The telepathic Professor Charles Francis Xavier is headmaster of the School for Mutants, where the X-Men learn to develop their strange powers for the good of society. However, a minority of disgruntled mutants, led by the enigmatic anti-hero Magneto, threaten to wipe out humankind.

The X-Men series is not the story of a single hero, dynamic duo or fantastic foursome, but of an entire race of exceptional beings. Kirby and Lee were likely inspired by the experiences of their own race, the Jewish people. (Although Stan Lee claims he created the mutation storyline to save him from having to invent a new origin for every character). Like the comic book mutants, the Jews were persecuted everywhere they tried to settle, and treated as misunderstood scapegoats. The Professor instructs his X-Men to keep their true identities hidden; likewise, Lee (born Stanley Martin Lieber) and Kirby (Jacob Kurtzbert) altered their Jewish names to gain acceptance within American society.

Jewish themes in the X-Men comics really came to the fore in the 1980s, after Jewish writer Chris Claremont took over the series. One of his cleverly crafted back-stories depicted Magneto as a Holocaust survivor who first met Xavier in Israel, when both men worked at a psychiatric hospital in Haifa. Claremont also portrayed Magneto and Xavier as former allies and friends, which is a notion that adds considerable poignancy to the X-Men mythos and has captured the imagination of fans. Sure enough, a recent interview with Sir Ian Mckellen (who portrays Magneto in the movies) hinted at a possible flashback scene in The Last Stand that depicts Magneto and Xavier as former friends.

Claremont also introduced the character of a young Jewish woman named Kitty Pryde, known as Shadowcat, who is one of the most popular characters in the series. Fans will be happy to learn that in the third film, Kitty (played by actress Ellen Page) reportedly gets much more screen time and sees plenty of action. According to her backstory, Kitty’s paternal grandfather, Samuel Prydeman, was a Polish Jew from Warsaw, who immigrated to the United States as a young man. He left behind a sister, Chava, Kitty's great-aunt, who disappeared during the Holocaust. It was in a story from 1985, when Kitty and Magneto visited the Holocaust Memorial Museum in Washington, D.C. and attended a gathering of survivors, that Kitty discovered Chava Prydeman Rosanoff had been killed at Auschwitz. Throughout the comic book series, Kitty shows pride (pun intended) in her religion. In one captivating episode, she defeats a vampire -- not with garlic but rather with her silver Magen David (Shield of David) necklace. In a more recent story, Kitty lights a yahrzeit (remembrance) candle in the memory of fellow mutant and sometime boyfriend, Colossus.
The biggest revelation about this summer’s anxiously awaited sequel is that the X-Men will contend with a "cure" that threatens their very existence: finally, a way is found to suppress the mutant “X gene” once and for all.

The previous movies addressed the need for peaceful co-existence and conveyed a powerful message: be proud of who you are. The premise in the upcoming film is much bleaker, however -– now the mutants are offered the chance to assimilate into the dominant culture. And after all, if there was a “cure” for being Jewish, it might make life easier -- but what are the implications?

Jewish sages teach that just like no two snowflakes are alike, so too no two faces are alike -- and no two souls are alike. Everybody is endowed with a special blend of abilities and potential. We’re obligated to perfect ourselves and in turn, perfect the world, a process known as Tikkun Olam. Living as a model community of uniquely gifted individuals, the Jewish people are called to be a "light unto the nations" (Isaiah 42:6).

Will the X-Men choose to take the easy way out and “cure” the very thing that makes them who they are? Will Xavier and Magneto join forces one more time to defend the rights of mutants –- and of persecuted people whoever they may be? Exactly how much screen time will Kitty Pryde finally get? This summer’s new X-Men movie will answer all those questions, but it won’t be the last we’ll hear of this compelling comic book allegory, that has introduced Jewish tradition and history to a new generation

The copyright © for all articles on this web site rests with the author. You may not copy or repost any article or parts therein without written permission and full acknowledgment of the source of the article. To obtain permission email us at webmaster@rabbisimcha.com

"Spirituality in Spandex"

March 2006

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