1924 Polish film
Tkies-kaf (, 'The Handshake'; , 'The Oath') is a partially lost 1924 Polish silent film. Set mainly in Vilna, it revolves around a vow made between two friends — Khaim and Borekh – that their future children shall marry each other. Many years later, the prophet Elijah, disguised as various characters, works to ensure this oath comes to fruition. These efforts are impaired by Borekh's friend Shmuel, who seeks to marry Khaim's daughter and keep his hidden fortune. The film's production was troubled by an initial lack of director; producer Leo Forbert's pick, American director Sidney M. Goldin, was occupied by another project, leading head actor Zygmunt Turkow (playing Elijah) to volunteer to direct the project. Other prominent actors in the film include Turkow's wife Ester Rachel Kamińska (playing Khaim's widow), and their daughter Ida Kamińska (playing Khaim's daughter Rokhl). The film was released domestically with Polish intertitles, and internationally in Yiddish. An adaptation titled "Dem Rebns Koyekh" was made by an American team in 1933, adding new scenes and Yiddish audio narration by Joseph Buloff.
Synopsis.
The film opens in the late 19th century, as the prophet Elijah (in the form of a Hasidic traveler) visits a rabbinic court in Vilna. He witnesses two friends, Khaim Kronenberg and Borekh Mandel, express their unhappiness that neither of them have yet had children. Through a handshake deal (a ), they vow that if one of them has a daughter and the other has a son, their children should marry to unite their families.
Many years pass and the two friends lose contact as Borekh moves west to manage his family's forest. Khaim dies soon after learning his son has been killed in battle during the First World War. His widow and his daughter Rokhl are left destitute, unaware of Khaim's secret cache of jewels. Elijah returns in disguise and arranges for Borekh's son Yankev to study in Vilna. There, he stays with his father's friend Shmuel Levine, who has purchased the former home of Rokhl and her mother. Elijah, again in disguise, causes Yankev and Rokhl to meet, and they fall in love. Yankev encounters her and her mother again selling fruit, and purchases their entire supply of apples.
Shmuel discovers Khaim's hidden store of jewels during his morning prayers and resolves to marry Rokhl. He begins spreading rumors of Yankev's behavior to Borekh, stating that he has adopted secular habits. Yankev is tempted by sin by a fellow student (in the form of an evil angel), and witnesses a cabaret show full of showgirls, and later attends a party where he plays Blind man's buff with a group of girls and boys. Borekh, angered by the news of his son's behavior, catches him in the middle of a dancing lesson, and attempts to arrange a marriage for him.
Elijah unsuccessfully attempts to stop Borekh from attending a rambunctious engagement ceremony. That night, Borekh dreams of Khaim and witnesses his forest ablaze with the words "Tkies-kaf" above. Meanwhile, Rokhl is arranged to marry Shmuel. She dreams that the dead rise from their graves to attend her wedding to Yankev, who transforms into Shmuel before her eyes. Yankev breaks off his engagement and arrives with his father at Rokhl and Shmuel's wedding, determined to prevent the marriage. There, he marries Rokhl in Shmuel's stead. The prophet Elijah reveals himself and scares Shmuel into returning the jewels to Rokhl's mother.
Production.
Following the First World War and the newfound independence of Poland, Jewish cinema in the nation had been curtailed by sporadic pogroms and antisemetic policies by the new government. Henryk Bojm, a photographer-turned-smuggler during the First World War, began writing screenplays in the years following the war, but was repeatedly unsuccessful in finding an interested producer. He approached Leo Forbert, the owner of Meteor (Warsaw's largest photography studio), who was enthusiastic at the prospect of Jewish cinema; together they founded a film group dubbed "Leo-Film". Their first film production together was Bojm's screenplay "Tkies-kaf", based off Peretz Hirschbein 1907 play "Der Tkies-kaf" and S. An-sky's 1914 play "The Dybbuk". Bojm wrote the screenplay with actors from a prominent local art theater troupe, , in mind; notably Zygmunt Turkow, his wife Ester Rachel Kamińska, and their daughter Ida Kamińska.
Forbert had produced two previous films for Meteor — the German-influenced crime films "Ludzie Mroku" and "Syn Szatana" — both with director Bruno Bredschneider. Neither film made a profit. Bredschneider, a non-Jew, was considered inappropriate for "Tkies-kaf"; Forbert may have approached the American Yiddish director Sidney M. Goldin, but Goldin was occupied with work on another film, "Yizkor". The film entered pre-production without a director; Turkow's cameraman (and cousin) Seweryn Steinwurcel was experienced with the technical elements of production, but was unable to give advice on the acting or movement. Turkow had joined the project on the promise that an experienced foreign director would direct the film; seeing no other option, Turkow volunteered to direct the project himself.
The exterior scenes of the film were shot in Vilna and Warsaw, while the interior scenes were shot in Forbert's studio. This studio was small enough to make filming cumbersome, and amplified the effect of the bright film lighting, leading one minor actor to complain that he almost went blind during the production. Bojm wrote the film's intertitles; these were written in Polish for the initial domestic release, but were rewritten in Yiddish for its release in the rest of Europe and the United States. In 1933, an American team made an adaptation of the film titled "Dem Rebns Koyekh" ('The Rabbi's Power', also titled "A Vilna Legend"), adding Yiddish audio narration by Joseph Buloff and several new scenes.
The film spanned twelve reels, making it the longest films produced in Poland in several years. Only fragments of it survive today, making it a partially lost film.
Reception.
In May 1924, "Tkies-kaf" debuted at the Rococo cinema in Warsaw. Songwriter and film critic Andrzej Włast, writing in the monthly "Ekran i Scena" ('Scene and Stage'), praised it for its use of Jewish culture and dubbed it the "best movie that has been made so far in this country". Another reviewer, writer Leo Belmont was more critical, writing in weekly "Kinema" that the film's creators "unconsciously idealize superstition". In contrast, a review in the literary weekly "Literarishe Bleter" lambasted the film, calling it "garbage" and a "mishmash of real matters and total impossibilities, "The Dybbuk" and the Prophet Elijah", while also arguing that it would strengthen antisemitic prejudice.
The film was a commercial success and inspired a series of other Jewish films in Poland over the following years, including "Śmierć za życie" (1924) and Fobert's next film, "Der Lamedvovnik" (1925).
References.
 ;templatestyles src="Reflist/styles.css" / ;
Bibliography.
 ;templatestyles src="Refbegin/styles.css" / ;