Duddy will hoch hinaus

Duddy Kravitz (Richard Dreyfuss) is a hustling young Jewish man living in a working class Montreal neighborhood. His older brother medical student Lenny is the favorite of his father Max (Jack Warden) and his rich uncle Benjy. His grandfather's mantra is "a man without land is nobody" and sees every man in the family including himself as failures. He works a summer job at a Jewish resort hotel. He falls for the French Canadian maid named Yvette (Micheline Lanctôt). The other waiters from McGill University led by Irwin look down on the lower class Duddy. While on a picnic with Yvette, he decides to buy the land around a beautiful lake and build his own hotel resort. She would need to front the deal since the owners would probably be unwilling to sell to a Jew.

Duddy is a money grubbing Jew character and he's somewhat annoying. His obsession is also understandable and fascinating. It's wrapped up with daddy issues. I don't root for his quest but it is still compelling. This is a nice slice of an era as well as an interesting coming of age story. The production is adequate and Dreyfuss delivers a good performance.

The most jaw dropping aspect of this film is realizing that Richard Dreyfuss was ever that young! He is perfect in the part of a pushy young man trying to get rich quick anyway he can, after all, it is what he has been raised to believe was the only goal in life. Although Duddy is pushy and brash, he is still likable and you want him to succeed, after all, he is coming from the streets without the benefit of higher education, his father is a cab driver who spends most of his days hanging out in a café with his buddies. To them money IS the goal.

I have owned this film on Video Tape for many years, and must watch it annually and always find something that I missed before. I liked the street scenes of Montreal in the late 40's, and the beautiful Adirondaks in summer. If you enjoyed Avalon, you would enjoy this film.

The reputation of this movie speaks for itself, and there are some very noteworthy names in the cast. I certainly anticipated that it would be enjoyable, but I wasn't sure what to expect - and I'm very impressed. So impressed that I can only wonder how it is that I hadn't heard of 'The apprenticeship of Duddy Kravitz' until now, through a chance recommendation. Where we're treated to humor, it's biting, and in the more seriously dramatic moments, the story is piercing, and only increasingly so. Yet it seems to me like the film doesn't have to work very hard to manifest either; as cutting as it may be at any point, the levity and the sobriety are borne naturally of the storytelling. And while that story carries familiar elements, the assemblage comes across as anything but ordinary. Very honestly, this deserves much more recognition.

We've seen this idea play out before: an enterprising young person latches onto a big idea that will make them Somebody, and the path to that goal is riddled with hurdles. Yet it's the extremes that the titular figure is willing to go to in that pursuit that do much to elevate 'The apprenticeship' and help it to stand apart; therein lies the stark potency as a few turns in the plot are surprisingly dark. Moreover, Duddy Kravitz is quite the character, bursting with nervous and excitable energy, and fierce, opportunistic determination, and he makes for quite the protagonist. To that point, it's a delight to see that role filled by Richard Dreyfuss; these days one is hardly accustomed to seeing the veteran in a part of so much lively zest, and he was so very young here. Dreyfuss has always been a great actor, though, and he proves it here with a vibrant electricity that as a viewer is a real joy to watch.

This is to say nothing of his co-stars, including venerable Denholm Elliott, and Randy Quaid in a role that is likewise a far cry from what we assume of him. Canadian actress Micheline Lanctôt is less immediately recognizable, but she ably makes her mark here with a fine show as supporting character Yvette. The whole cast is swell, and the parts they play lend tremendously to the zip of the tale being spun. That includes no small measure of racism that figures into the snappy dialogue, yet the inclusion here is not one of vilifying bigotry as is most often true in fiction. Rather, the racist overtones are part of the lived experiences of the characters, and something they readily acknowledge and play up with mirthful jest. It's an angle that like so much here is unexpected, but the underlying intelligence is gratifying. And for that, of course, we can thank Mordecai Richler, adapting his own novel to the screen. There's underhanded complexity and wit behind every aspect of the writing, such that nothing in 'The apprenticeship' feels like it's being thrust in our face. Instead, every slight idea, tone, and detail slowly bubbles to the surface on its own time, and as it does, we realize it was there all along, helping to fuel the fire. Richler's writing is impressively dexterous, and I'd love to discover more of his work.

By design, this isn't necessarily a picture that's immediately grabbing, and anyone hoping for a more plainly impactful viewing experience may be put out. By and large, however, this is a steady, compelling feature that keeps us well engaged, and ultimately is very satisfying. Well made in all regards, the worst criticism to come to mind at the moment is that in some ways - sequencing, editing generally, the pace of plot development - the title feels a tad too brusque, as though spurred into a forced march. This is a minor gripe, though, particularly in light of the keen writing and excellent performances. 'The apprenticeship of Duddy Kravitz' is more forgotten than not in the annals of cinema history (at least outside Canada), but there's superb value here that demands rediscovery: if you have the chance to watch this, it's very much worth two hours of one's time.

The younger son of a working-class Jewish family in Montreal, Duddy Kravitz (Richard Dreyfuss) yearns to make a name for himself in society..

We start with the idea: "A man without land is nobody." From there, we get to a surreal Bar Mitzvah film, a pinball business, assorted other ventures and possible scams... all so Duddy can buy up some farmland, which he does under another name because he thinks farmers will not sell to Jewish people (although this is not clearly explained).

"Duddy Kravitz" has an important place in Canadian film history because it was the most commercially successful Canadian film ever made at the time of its release, and has thus been described as a 'coming of age' for Canadian cinema. One wonders how things have changed, because it seems that today (2017) Vancouver is one of the most-filmed cities in the world.

It's a post-World War II drama set in Montreal, Quebec, and the Laurentian Mountains in a predominately Jewish context. David "Duddy" Kravitz (Richard Dreyfuss) is a recent 19-year-old high school graduate. He is a fast-talking hustler, somewhat like his widowed father, Max (Jack Warden), who is a cab driver and occasional pimp. Duddy's older brother, Lenny (Alan Rosenthal), is in medical school with the help of Max's more successful brother, Benjy (Joseph Wiseman). Benjy has never had time for Duddy. However, Zaide (Zvee Scooler), Duddy's grandfather, has always been supportive. He tells Duddy that you are only someone if you own land.

The film follows Duddy's efforts to make money and become someone in a world that distrusts Jews. He has a French Canadian girlfriend, Yvette (Micheline Lanctôt), and hires an alcoholic filmmaker (Denholm Elliott). He tries to make money from a local gangster, Dingleman (Henry Ramer), who used to be friends with his father. Duddy also abuses the trust of a young, naive American, Virgil (Randy Quaid), whom he hires to transport pinball machines.

"The Apprenticeship of Duddy Kravitz" contains much humor, focused on Duddy's chutzpah as he struggles two steps forward and falls one step back. Richard Dreyfuss plays the role brilliantly, and Lanctôt provides a good counterbalance. One wished to see more of Scooler. The remaining characters are less developed.

The script, also by Richler, is uneven. It has gaps and transitions that could have been smoother. The cinematography is good, particularly on the land that Duddy is pursuing.

This Canadian movie has aged quite well.