Film
Strom has directed five award-winning documentary films ("At the Crossroads", "The Last Klezmer", "Carpati: 50 Miles, 50 Years", "L’Chayim, Comrade Stalin!" and "Klezmer on Fish Street") and has composed music for countless others. He was the first documentary filmmaker in history to be given his own run at Lincoln Center's prestigious Walter Reade Theatre, where "The Last Klezmer" broke box office records; this record was only exceeded by "Carpati"'s run there. Both films went on to strong theatrical runs both in the U.S. and abroad, and were featured on major Top Ten Lists (The Last Klezmer on the N.Y. Post's for 1994, and Carpati on the San Diego Union Tribune's for 1997). "The Last Klezmer" was short-listed for an Academy Award. "Klezmer on Fish Street" won the 2003 Palm Beach International Film Festival's Special Jury Selection award. His documentary "A Man From Munkacs:The Gypsy Klezmer " was produced by Duna Television (Budapest, Hungary). Two edits exist, the producer's cut to be shown exclusively in Hungary, and the director's cut for other countries. In 2007, Strom curated an event in New York City, "A Great Day on Eldridge Street", a photo shoot (by photographer Leo Sorel) of over 100 of the world's leading klezmer and Yiddish artists (based on the iconic photos "A Great Day in Harlem"), a parade through the Lower East Side and concerts. Strom's short film, "A Great Day on Eldridge Street", documents these events.
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Famous quotes containing the word film:
“All the old supports going, gone, this man reaches out a hand to steady himself on a ledge of rough brick that is warm in the sun: his hand feeds him messages of solidity, but his mind messages of destruction, for this breathing substance, made of earth, will be a dance of atoms, he knows it, his intelligence tells him so: there will soon be war, he is in the middle of war, where he stands will be a waste, mounds of rubble, and this solid earthy substance will be a film of dust on ruins.”
—Doris Lessing (b. 1919)
“To read a newspaper for the first time is like coming into a film that has been on for an hour. Newspapers are like serials. To understand them you have to take knowledge to them; the knowledge that serves best is the knowledge provided by the newspaper itself.”
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“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)