Twenty years have passed since its release, and “The Big Lebowski” remains an unparalleled cult classic. More than just a stoner film, directed by the Coen brothers, it’s a sprawling, hilarious, and deeply layered story centered around the Dude and his rug. The movie boasts an iconic ensemble cast including Jeff Bridges, Steve Buscemi, Sam Elliott, Julianne Moore, Philip Seymour Hoffman, and John Turturro. However, for many, and particularly for Jewish viewers, the film is indelibly marked by John Goodman’s unforgettable portrayal of Walter Sobchak.
Walter, the Dude’s bowling buddy, is a Vietnam veteran, a detail he weaves into almost every conversation, hinting at a possible struggle with PTSD. But beyond his military past, Walter is a convert to Judaism, and a fiercely committed one at that. In one of the film’s most memorable scenes, Walter explains his refusal to bowl on Saturday, laying down the law with characteristic intensity:
Saturday, Donny, is Shabbos, the Jewish day of rest. That means I don’t work, I don’t drive a car, I don’t f_____ ing ride in a car, I don’t handle money, I don’t turn on the oven, and I sure as s_____don’t f_____ing roll…..I’m shomer Shabbos!
This declaration, punctuated by Walter’s explosive personality, is both comedic and surprisingly profound. His other classic line, the cryptic “Etz chayim hi, Dude, as the ex used to say,” further cements his eccentric yet deeply felt Jewish identity within the film’s narrative.
The Coen brothers, themselves of Jewish heritage, have often explored Jewish themes in their work, most notably in “A Serious Man.” With Walter Sobchak, they gifted cinema with a character who stands as one of the most distinctly Jewish figures ever portrayed on screen. He belongs in the company of iconic Jewish characters like Tevye from “Fiddler on the Roof,” Ari Ben Canaan from “Exodus,” and Yentl, arguably surpassing even the Jewish identities explored in Woody Allen’s films in its unique and resonant portrayal.
Let’s delve deeper into what makes Walter such a compelling and, indeed, Jewish character.
Walter Sobchak: A Jew by Choice and by Conviction
Firstly, Walter’s identity as a convert to Judaism is significant. The Coen brothers subtly introduced mainstream American audiences to the concept of choosing Judaism. Walter embodies the idea that Jewish identity isn’t solely determined by birth. Jewish tradition itself embraces converts, and as a common saying goes, some of the most dedicated members of the Jewish community are those who have chosen to join it. This adds a layer of complexity and appreciation to Walter’s fervent embrace of his faith.
Secondly, Walter’s commitment to Jewish practice, albeit expressed through his loud and often profane demeanor, is noteworthy. Pop culture rarely portrays characters openly practicing any religion, and nuanced portrayals of Jewish observance outside of Orthodox Judaism are even rarer in cinema.
Walter’s “Shomer Shabbos” declaration goes beyond the typical cinematic nods to Jewish rituals like lighting candles, attending a Seder, or a Bar Mitzvah. His observance of Shabbat is specifically about withdrawal from the everyday, the “profane” activities of the week, to embrace the “kedusha,” or holiness, of the day of rest. It’s not merely about menucha (rest), but about actively sanctifying time.
Now, regarding Walter’s assertion about not rolling on Shabbos – whether this is strictly Halakhic (Jewish law) is open to interpretation. Certainly, engaging in commerce at a bowling alley on Shabbat would be problematic. But Walter’s interpretation might extend beyond the letter of the law. Perhaps “not rolling” on Shabbat symbolizes refraining from competition, from striving for personal achievement and glory, even within the seemingly mundane context of a bowling league.
Bowling Alone Together: Community in The Big Lebowski
This brings us to the dynamics between Walter, the Dude, and Donny within their bowling league. Robert Putnam’s influential book, “Bowling Alone: The Collapse and Revival of American Community,” highlights a paradox: while more people bowl than ever, participation in bowling leagues is declining. Putnam argues this reflects a broader societal trend of decreasing social connection and community engagement. Bowling leagues, like PTAs, churches, and political parties, once served as vital social structures, fostering community.
The subtle brilliance of “The Big Lebowski” lies in the fact that for the Dude, Donny, and Walter, their bowling team is their family. They are a small, constantly bickering, yet ultimately loving unit. Walter’s eulogy for Donny, comparing his passing to soldiers lost in Vietnam, is undeniably absurd and over-the-top. However, beneath the bombast, it’s genuinely heartfelt, revealing the deep bond within this makeshift family.
In conclusion, “The Big Lebowski” deserves recognition as one of the most Jewish films of recent decades. Even if solely for the iconic scene where Walter passionately proclaims his adherence to Jewish law and practice, the film offers a rich and humorous exploration of Jewish identity. In a world often lacking in nuanced portrayals of Jewish life, we could certainly do far worse than to have more cinematic representations of Jews like Walter Sobchak – flawed, complex, but deeply committed to their chosen faith and community.
