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Abstract

lie Eilish, Tate McRae, and Olivia Rodrigo. The ballsy, bludgeoning tune of Bitch by Meredith Brooks steals the show at the end.Women are portrayed in a negative light, all scheming and twisted but these roles can be viewed as satirical. There are so many targets this film attempts to tick off including slut-shaming, bullying, class inequality, homophobia, and influencer-era shallowness. It also takes aim at performative wokeness.But then came the final party scene.This is the moment of the big reveal. The double-cross / switch-up revenge fantasy played out. This is the climax where the bad guy gets their comeuppance and the pain and heartache along the way are all worthwhile.What alarmed me most about this scene was the subtle antisemitism. Did you see it? It’s not obvious.The main villain is a guy called Max Broussard. An elitist prick of a sociopath. A man who toys with the affections of women and slithers his way all over the screen. This narcissistic douchebag drips with toxic energy. We know from the very beginning he’s up to no good and clearly the villain. He’s a sexual predator who poses as an ally and founds a club called the “Cis Hetero Men Championing Women Identifying Students League!In the third act of the film, Max (Austin Abrams) flaunts his evil plans in an open-top shirt, his bare chest exposed. And there, glinting off the light, clear as day, is a gold Star of David. He’s finally being exposed, caught red-handed for the monstrous prick that he is and there lies a symbol of Judaism.Now…a film this knowing, with such impeccable taste in music, casting, and wardrobe…nothing is done accidentally. I

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was genuinely shocked to see that Max was Jewish. The big villain is a Jew. The wealthy, twisted, immoral, and socially privileged male has a Jewish background. Of all the social causes this film chooses to address, religion didn’t appear to be one of them.Delve a little deeper and you begin to understand the motives behind the script. The film is based upon a book by a Jewish author, Patricia Highsmith, entitled Strangers on a Train. A revenge fantasy of what happens when two strangers on a train decide to help murder each other's enemy. The book itself makes an appearance in the film. Highsmith was once labeled a nazi-sympathizer for referring to Hitler’s extermination of six million Jews as both “Holocaust Inc.” and the “semicaust.” She wasn’t and the text was taken out of context.So was this another knowing and ironic nod to the author who inspired the movie? Was the director merely acknowledging the controversy surrounding Highsmith?Probably, but you would have to understand or ‘get’ the satire. You would have to comprehend the nuance of film and not take everything at face value. Is that possible? I have my doubts.Personally, I don’t think putting a Star of David on the lead character was necessary. It plays into antisemitism by once again portraying Jews as people who can’t be trusted. It does nothing to add further layers of complexion to Max’s character.And we’ve seen (and read) all this before with Shakespeare’s Shylock and his ‘pound of flesh’ or Dicken’s Fagin, referred to as ‘the Jew’ 257 times in Oliver Twist.The end scene left a bitter taste. I enjoyed the film but…What do you think?</article></body>

THE SALSA SCREEN

Is ‘Do Revenge’ this Year’s Most Subtle Anti-Semitic Movie?

Max and his Star of David in Netflix’s Do Revenge. Image from Youtube trailer.

Do Revenge on Netflix is the latest film release from the streaming giants. It’s a modern take on Heathers, full of catchy buzzwords, a tight script, and a superb cast. I loved watching this film. But then it took an even darker turn.

First up the positives. This film seriously rocks.

I loved the dialogue with knowing-nods to 90s movies such as Clueless or Cruel Intentions. Lines like “I was a Billie Jean King in a sea of Maria Sharapovas” and “I just want to eat my lunch on her shattered ego” are brutally savage. This film knows what it’s doing. It hits all the right notes, banger after banger.

I don’t remember having this much fun watching a movie about teen revenge and not being bored after ten minutes. Maya Hawke (Robin Buckley from Stranger Things) may be typecast as a lesbian for all future productions. She’s amazing. A perfect blend of toughness and vulnerability. Her co-star, Camila Mendes (from Riverdale) was also captivating. Even Sarah Michelle Gellar (Buffy the Vampire Slayer) makes an appearance as the school headmistress.

And the soundtrack! Every track is a killer. A nod to all the revenge-filled narcissistic college movie romps of yesteryear. There are old-school female empowerment anthems by Hole, The Cranberries and Le Tigre mixed in with the latest sounds of Billie Eilish, Tate McRae, and Olivia Rodrigo. The ballsy, bludgeoning tune of Bitch by Meredith Brooks steals the show at the end.

Women are portrayed in a negative light, all scheming and twisted but these roles can be viewed as satirical. There are so many targets this film attempts to tick off including slut-shaming, bullying, class inequality, homophobia, and influencer-era shallowness. It also takes aim at performative wokeness.

But then came the final party scene.

This is the moment of the big reveal. The double-cross / switch-up revenge fantasy played out. This is the climax where the bad guy gets their comeuppance and the pain and heartache along the way are all worthwhile.

What alarmed me most about this scene was the subtle antisemitism. Did you see it? It’s not obvious.

The main villain is a guy called Max Broussard. An elitist prick of a sociopath. A man who toys with the affections of women and slithers his way all over the screen. This narcissistic douchebag drips with toxic energy. We know from the very beginning he’s up to no good and clearly the villain. He’s a sexual predator who poses as an ally and founds a club called the “Cis Hetero Men Championing Women Identifying Students League!

In the third act of the film, Max (Austin Abrams) flaunts his evil plans in an open-top shirt, his bare chest exposed. And there, glinting off the light, clear as day, is a gold Star of David. He’s finally being exposed, caught red-handed for the monstrous prick that he is and there lies a symbol of Judaism.

Now…a film this knowing, with such impeccable taste in music, casting, and wardrobe…nothing is done accidentally. I was genuinely shocked to see that Max was Jewish. The big villain is a Jew. The wealthy, twisted, immoral, and socially privileged male has a Jewish background. Of all the social causes this film chooses to address, religion didn’t appear to be one of them.

Delve a little deeper and you begin to understand the motives behind the script. The film is based upon a book by a Jewish author, Patricia Highsmith, entitled Strangers on a Train. A revenge fantasy of what happens when two strangers on a train decide to help murder each other's enemy. The book itself makes an appearance in the film. Highsmith was once labeled a nazi-sympathizer for referring to Hitler’s extermination of six million Jews as both “Holocaust Inc.” and the “semicaust.” She wasn’t and the text was taken out of context.

So was this another knowing and ironic nod to the author who inspired the movie? Was the director merely acknowledging the controversy surrounding Highsmith?

Probably, but you would have to understand or ‘get’ the satire. You would have to comprehend the nuance of film and not take everything at face value. Is that possible? I have my doubts.

Personally, I don’t think putting a Star of David on the lead character was necessary. It plays into antisemitism by once again portraying Jews as people who can’t be trusted. It does nothing to add further layers of complexion to Max’s character.

And we’ve seen (and read) all this before with Shakespeare’s Shylock and his ‘pound of flesh’ or Dicken’s Fagin, referred to as ‘the Jew’ 257 times in Oliver Twist.

The end scene left a bitter taste. I enjoyed the film but…

What do you think?