42: The True Story of an American Legend edifies a new generation with the story Jackie Robinson’s magical first season with the Brooklyn Dodgers when he defeated Jim Crow, won National League Rookie of the Year, and led “The Bums” to the 1947 World Series, where they lost in seven games to Joe DiMaggio’s Yankees. Better luck, in 1955!

The film dramatizes such racially-charged episodes of Jackie’s epic year as the “nigger” taunts hurled at him by Philadelphia Manager Ben Chapman (also a rabid anti-Semite), his blatant spiking by St Louis’ Enos Slaughter, and the supportive, on-field hug he received in Cincinnati from Dodger shortstop and captain, Louisville-born Pee Wee Rees.

Yet the film is also a case study of a tendency to “white out” the role of American Jews in the history of the movement for African American rights.

With a screenplay by Brian Helgeland, 42 is very much the Jackie Robinson story seen through the eyes of an African American newspaperman. Portrayed prominently in the film, Wendell Smith of the Pittsburgh Courier helped chaperone Robinson during the 1947 season and co-wrote his first autobiography.

Smith had a zero-sum view of who should be given credit for advancing Robinson’s career: meaning Smith above everybody else. This was particularly significant regarding those Jews who could claim part of the credit such as Daily Worker sports columnist Lester Rodney and Boston city councilor Isadore Muchnick—described by Boston black journalist Mabray “Doc” Kountze as a “white modern abolitionist.” Muchnick’s pivotal role in arranging Robinson’s 1945 tryout with the Boston Braves was belittled and besmirched by Smith. He suggested that Muchnick—who was elected twice without opposition from an almost 100 percent white district (with perhaps the highest concentration of Jews in the country)—was somehow motivated by a hankering for black votes.

At the heart of the depiction of Dodger owner Branch Rickey (played by Harrison Ford) is his Methodist faith: “Robinson is a Methodist, I’m a Methodist, God is a Methodist.” On the other hand, there are no identifiable Jewish characters, although the anti-Jewish bigotry of the Phillies’ owner as well as manager Chapman is made clear. It would have been easy for Helgeland to include a Jewish baseball player. In fact, Hank Greenberg (then finishing his career for the Pittsburgh Pirates) arguably went further out of his way to befriend and defend Robinson than did his teammate Pee Wee Reese.

Then, there is Brooklyn where, in 42, Robinson is cheered by black fans plus whites of no discernible ethnicity. The reality is that the core of his white fan base seems to have been Jewish. Brooklyn Jews were not immune to the borough’s rampant tribalism. Jackie and Rachel moved into a Flatbush duplex owned by a black woman who previously had to face down a petition signed by predominately Jewish neighbors discouraging her from buying the house. (Years later, Jews helped the Robinsons integrate North Stamford, Connecticut.)

Yet just as the Robinson’s best friends in Montreal (where he played in the Minors) had been Jewish, their Flatbush white friends seem to have been virtually all Jews, including lifelong friends, Sam and Belle Maltin, whom the Robinsons naively presented with a Christmas tree. Jackie, Jr., was so exposed to Flatbush’s Jewish mise-en-scène that his father joked that his son began to believe he was Jewish.

In addition to the Maltins, Robinson’s circle of Jewish intimates formed during the Brooklyn years included ADL leader Arnold Forster, Bea and Andre Baruch, a Dodger announcer; Frank Schiffman and his son Bobbie, owners of the Apollo Theater; Meyer Robinson of Manischewitz Wines; and lawyers, advisers, and partners Martin Stone, Catskill resort owner Jennie Grossinger, and Chicago-based theater owners Caroline and David Wallerstein. Jackie Robinson reciprocated by his outspoken, sometimes lonely denunciations of anti-Semitism, especially among Black Nationalists.

To give Louis Farrakhan his due: he’s never “whited out” Jews. In Nation of Islam pseudo-history, Jewish merchants (under two percent of those involved) “dominated” the slave trade, just as Jewish merchants were the archetypal “ghetto bloodsuckers,” and Jewish civil rights activists were the preeminent insidious manipulators of an integrationist agenda that benefited Jews but not African Americans.

Yet “insidious” is the correct words for some tendentious writing of civil rights history. This amounts to a historiographical shell game that characterizes allegedly unscrupulous storekeepers as “Jewish” on the basis of their ethnicity, but typically characterizes civil rights workers as somehow “not Jewish” unless they religiously self-identify with Judaism.

There is no reason to attribute any such malice to this inspiring film celebrating true American heroism. Why, then, were Jews “whited out” of 42? Probably partly because of the filmmakers’ paying homage to Wendell Smith (who indeed played an important role in Robinson’s career) by treating him as the authoritative interpreter of events. Yet the film also mirrors a “white-out” of the role of American Jews, perhaps to avoid controversy—but at the expense of capturing the complexities of religious-ethnic-racial history.

As I’ve already indicated, these complexities can cut both ways: the Robinsons’ African American landlady faced hostility from fellow Flatbush Jewish homeowners, while—before and later—the Robinsons’ received critical support from many more Jews. The predominately positive side of the story should be told without either by ignoring the one negative episode or by “whiting out” the Jewish role entirely.

Through my work as a consultant, I helped accentuate the positive on breaking baseball color line’s fiftieth anniversary in 1997 when the Simon Wiesenthal Center and the Museum of Tolerance—inspired by the incredible Rachel Robinson (who just turned 90)—successfully lobbied a reluctant Rose Bowl Parade Float Committee to include our commemorative Float in its Parade through Jackie’s hometown of Pasadena. Stephen H. Norwood and I then opened up for fresh study Jackie Robinsons’ relationship with the Jews in “Going to Bat for Jackie Robinson,” Journal of Sport History, 26:1 (1999), 118-44.

Published earlier, Arnold Rampersad’s Jackie Robinson: A Biography (1997) nevertheless is still worth reading on this subject. So, too, are more recent books: Howard Bryant’s Shut Out: A Story of Race and Baseball in Boston (2003); John Eig’s Opening Day: The Story of Jackie Robinson’s First Season (2008); and Rebecca T. Alpert’s Out of Left Field: Jews and Black Baseball (2011).


  1. I equate this movie like that of “Milk”,that introduced Harvey to millions to that era in the gay rights movement,young and old,gay and straight,here in the USA and around the world. Like “42′, it depicted events that never happened, or left out important facts that did. Ironically for me as a 10 year old kid in Chicago that got to see Robinson on the day he made his debut at Wrigley Field o 5/18/47. I noticed something that day that I never seen or read about,that many,many fans brought binoculars to get a closer look at the future Hall of Famer. I also knew Harvey Milk as a friend. My iconic image of Milk with a bullhorn introduced Harvey nationally via A.P. 5 months before he was elected… yet in the movie MILK it was completely depicted wrong and left out how I was able to talk the Associated Press S.F. bureau into running it nationally.

  2. Appreciate your dual recollections. Of course, Hollywood takes dramatic liberties. I’m interested when the facts are stretched in such a way as to obscure a significant truth like Jackie’s relationship with the Jews.

  3. I am so disappointed in the original comment above, regarding this movie. Why do we have to disect inequality? Inequality, racism is a terrible crime against humanity. Jews, Irish, Blacks, Hispanics, American Indians and likely many other ethnic people have suffered great indignities. I have watched countless movies about the atrocities of Jews and wept for their people. The fact that they were abhorantly and blatently persecuted does not however, lessen the persecution of the black race in America. This true story of Jackie Robinson,a truly humanitarian rendition of Black America in that era, is such a victory for all of us. So, at the end of the day that I find it disgusting for someone to comment on the plight of the Jews and what wasn’t discussed about them in this film. It was a tremendously moving film depicting a sorrowful piece of human history and the ability of the human spirit to overcome. It depicts the worst and the best in all of us – the AMERICAN PEOPLE.

    Also, I am neither of Jewish descent nor am a black. I am however, an American who applauds this film.

  4. You missed the point of my post. I revere Jackie Robinson, and liked the movie despite some limitations. I commented on its failure to give a nod in the direction of the Jews who worked to make Robinson’s victory over racism possible. I might have foregone my comment except that ignoring the Jewish role in the civil rights movement is a troubling tendency of our time that distorts history. I could offer further observations about your post, but won’t.

  5. I was at Pasadena Jr. College in 1938-1939 and saw Jackie almost daily and he was a very sweet person. I was in shock at the treatment he received playing baseball and for the first time in my life wanted to choke some throats with the horrible words that came out of them. No wonder he died so young. And now seventy years later, we still haven’t changed as they are doing the same thing to this beautiful black doctor,
    Ben Carson. How slowly humanity evolves. We are all flying in space on this planet and should learn and love all types and colors. Makes life so

  6. I appreciate your reminiscence. Mayor Tom Bradley–who should have been Governor–had parallel experiences with Jackie.

  7. I could offer further comments on your post as well, but won’t. When all is said and done the movie was a great tribute to Jackie Robinson – a hero of his time and of ours as well. Simply put, it was well done and to the point.

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