Kirk Douglas exudes certain qualities in the best of his 20th century work, qualities that offer a subtle exchange on mind/body vulnerability, that can be exemplified by his black and white films like The Juggler 1953. His game theory with Jewish identity and diasporia doesn't always reach the depth of later Hollywood and foreign film Holocaust revisionism, and I only touched on it briefly in earlier posts, but he is certainly more successful with it at times than Paul Newman, and you may consider this a working outline, to which I shall add, as carefully as the late Christopher Hitchens, that I am critical of Jewish exceptionalism that seemingly makes the modern state of Israel a necessity.

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