The ceremonial Jewish ring. The ring was a real Jewish relic owned by a rabbi who survived the Holocaust, and was used to wed two of Howard Gordon's friends. This later inspired him to write the episode.
"Kaddish" is the fifteenth episode of the fourth season of the American science fiction television series The X-Files. It was written by producer Howard Gordon and directed by Kim Manners. The episode originally aired on the Fox network on February 16, 1997. The episode is a "Monster-of-the-Week" story, a stand-alone plot unconnected to the series' wider mythology, or overarching history. The episode received a Nielsen household rating of 10.3 and was viewed by 16.56 million viewers. It received moderately positive reviews from critics.
The show centers on FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. In the episode, Isaac Luria (Harrison Coe), a Jewish man, is killed by a group of teenagers working for a racist shop owner. One of the assailants, however, is soon strangled to death and the fingerprints on his neck are Isaac's. Despite other factors, Mulder becomes convinced that a golem is attempting to avenge Isaac's murder.
"Kaddish" was written by Gordon due to his fascination with the legend of the Golem from the Kabbalah. Originally, the script called for the antagonist to be an African American "Louis Farrakhan-like" character, but Fox was concerned that the show's increasing popularity with black viewers would be damaged by this, and Gordon agreed to make the villains into, in his words, "cartoonish neo-Nazis". Gastown, Vancouver stood in for many of the exterior shots that were supposed to be Brooklyn. No Jewish synagogue would rent out their space for the episode, so Shaughnessy Heights United Church was renovated to look like one. This included completely redecorating the pews, carpet, and light fixtures, as well as crafting a Jewish altar. The episode's title is a reference to the Jewish mourning prayer service (Hebrew: קדיש). "Kaddish" has been critically examined for its themes concerning love and hate.
Plot
In Brooklyn, New York, a group of Hasidic Jews gather at a cemetery for the funeral of Isaac Luria (Harrison Coe), who had been beaten and shot to death by a gang of three young neo-Nazis. The last to leave is Isaac's betrothed, Ariel (Justine Miceli), and her father, Jacob Weiss (David Groh). During nightfall, a dark figure enters the cemetery and crafts a man-shaped sculpture out of mud.
When one of Isaac's assailants is found strangled with the dead man's fingerprints on his body, Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) are called in to investigate. Scully suggests that the murder was an act of retribution, and argues that the evidence was staged to look like revenge from beyond the grave. When the agents visit Ariel and Jacob, their request for the exhumation of Isaac's body angers the old man.
Mulder and Scully then interview Curt Brunjes (Jonathan Whittaker), the racist owner of a copy shop across the street from the market where Isaac worked. Mulder tells Brunjes that the other two boys, who work for Brunjes, are in danger. Scully mentions that there is a rumor spreading that Isaac has risen from the grave to avenge his death. The two boys, who are eavesdropping on the conversation, are terrified at this prospect.
That night, the boys dig up Isaac's grave and find his body intact. While retrieving tools from the car, one of the boys is brutally murdered. The next morning, Mulder and Scully find a book on Jewish mysticism buried with Isaac's body; it mysteriously bursts into flames. On the book is Jacob's name. The agents search for Jacob, finding him in a synagogue with the hanged body of the last remaining boy. Although Jacob admits to both of the murders, Mulder believes that a Golem—a creature from Jewish mysticism—is the true murderer.
Later, Brunjes is found murdered and Mulder and Scully watch the shop's surveillance tape. They discover that the Golem has features similar to Isaac. Mulder deduces that, because Ariel and Isaac were not officially wed in a Jewish synagogue, Ariel created the Golem out of love to serve as a surrogate for her late husband. The two agents arrive at the synagogue to find Ariel and the creature exchanging wedding vows. After an intense fight, in which Jacob and Mulder are both wounded, Ariel declares her love for Isaac and returns the creature to dust.[1]
Production
Writing
I was intrigued by the myth [of the Golem] from the time I was a kid. I revisited it at the very beginning of The X-Files four years ago, and for one reason or another, I was persuaded either not to do it or hadn't really figured out the way I wanted to do it.
—Howard Gordon, talking about his interest in the myth of the Golem[2]
"Kaddish" was written by producer Howard Gordon, directed by Kim Manners,[3] and dedicated to the memory of Lillian Katz, Gordon's grandmother.[2] Gordon was inspired to write the episode based on his heritage. He noted, "I was always compelled by the Golem mythology. We had never dealt with the horrors of antisemitism and the power of the word [on The X-Files]. And because I'm Jewish, it was something that was really compelling to me personally."[4]
The idea to create a story centering on a Golem, however, had been proposed several times before by "probably every Jewish writer who's passed through", according to Gordon.[5] However, Gordon's unique take on the story, complete with an "emotional basis",[2] began to develop after he attended a wedding of two of his friends. During the ceremony, the officiating rabbi, who was a survivor of the Holocaust, used a real Jewish relic: the communal ring that was eventually featured in the episode.[2][6] The ring inspired Gordon to pen a "Romeo and Juliet-like" story that revolved around the power of love and the powerful desire to bring back loved ones from the dead.[2] As such, the episode's title is a reference to the Jewish mourning prayer service.[2]
Gordon's original version of the script called for both the protagonists and the antagonists to be African Americans, and the main protagonist to be a "Louis Farrakhan-like" character. Gordon later rewrote the script because he realized "black anti-Semitism is a very subtle and difficult subject and not what I needed in my dramatic structure."[5] Gordon wanted much of his episode to focus on anti-Semitism, thereby contrasting sharply with the episode's main theme about love. To create Brunjes's propaganda, Gordon reached out to the Anti-Defamation League and requested samples from their archives. These articles were later reproduced and used in the episode with only "minor alterations".[6]
Casting and characterization
Justine Miceli, the actress who played Ariel, based her character's sorrowful demeanor on the memory of her own father's death due to cancer. Although she is not Jewish, Miceli was assisted by a friend's rabbi, who helped her learn the proper pronunciation for many of the Jewish prayers used in the episode.[6] Gordon was adamant that he did not want Jacob Weiss to be portrayed in a stereotypical way. Initially, he was disappointed when actor David Groh affected a Yiddish accent, for fear that Weiss' scenes could "lapse into parody rather easily".[2] Gordon, however, stated that Groh had a "certain verisimilitude" and that in the end it was "the right choice" for him to have the accent.[2]
Many fans on the internet were hoping that the episode would reveal whether or not Mulder is Jewish.[2] In the episode, however, Mulder is unable to identify a Jewish book, states that he does not know Hebrew, and quips that Jesus returned from the dead. When asked whether or not Mulder is Jewish, Gordon said that he did not think that he is, nor did he think he is "even half-Jewish".[2] He did, however, note that "there's something about David [Duchovny] that could be Jewish or that has a Jewish sensibility."[2]
The scene featuring the burning book was difficult to film, as the pyrotechnics refused to cooperate. David Duchovny and Gillian Anderson ended up spending far more production time than originally allotted to shoot the scene.[7]Gastown, Vancouver—described as "the only area in Vancouver that even remotely resembles residential Queens"—stood in for many of the exterior shots.[8] Shots at the Weiss' apartment were filmed at the Winter's Hotel. Originally, the production team was going to remove the hotel's neon sign, but director Manners, instead, decided to "move the camera another five feet", thereby avoiding "prohibitive" expenses.[8]
None of the synagogues in the Greater Vancouver area were willing to let the production crew use their space,[6] so the scenes in the synagogue were actually filmed at Shaughnessy Heights United Church. The church was chosen because its "gothic interior" and "stained glass windows ... resembled many New York synagogues".[9] The church was booked for two weeks so that the entire interior could be redecorated to look like a legitimate Jewish temple. This included completely redesigning the pews, carpet, and light fixtures, as well as crafting a Jewish altar.[9] During the construction of the altar, a Hebrew translation of the Ten Commandments was needed, but the series' on-set Hebrew advisor was not available. Consequently, the art staff, to quote art director Gary Allen, "ended up faking it [i.e. the text]."[7]
Series composer Mark Snow heavily featured "clarinet, violin, and cello solos" in the episode's score and readily admits to "borrow[ing]" J.S. Bach's Fugue in G minor, "Little", BWV 578 piece. He noted, "The aim was to wind up somewhere between a Klezmer band and Schindler's List."[7]
Themes
Gordon said that love is the central conceit of the episode. Although, in the myth of the Golem, the creature is soulless, Gordon took "some liberties" with the legend.[2] He wanted "Kaddish" to "literally be about resurrection".[2] Ariel creates an imperfect reflection of her husband by crafting the Golem from mud. In essence, she is trying to play God, a role that Gordon later likened to Victor Frankenstein, the scientist from Mary Shelley's famous novel Frankenstein; or, The Modern Prometheus (1823). However, Ariel and Frankenstein differ in the fact that Ariel's flaw was related to her "loving [Isaac] too much, not being able to let go, because of the cruelty and injustice of what she suffered."[2] In this manner, Ariel's motivation for creating the Golem are "slightly more romantically skewed".[2]
Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, analyzed Gordon's portrayal of racism and anti-Semitism. They wrote that Gordon "makes [a] very convincing point" when he argues that hatemongers like Carl Brunjes—who are openly hateful of other cultures but would never, personally, hurt them—are "just as guilty" as openly violent individuals, such as the "three Nazi thugs who beat and shoot a defenceless man."[10]
Broadcast and reception
"Kaddish" originally aired on the Fox network on February 16, 1997, and was first broadcast in the United Kingdom on BBC One on December 17, 1997.[3] This episode earned a Nielsen rating of 10.3, with a 15 share, meaning that roughly 10.3 percent of all television-equipped households, and 15 percent of households watching television, were tuned in to the episode.[11] It was viewed by 16.56 million viewers.[11]
The episode received moderately positive reviews from television critics. Andy Meisler, in his book I Want to Believe: The Official Guide to the X-Files Volume 3, called the episode "one of the best non-mythological episodes of the fourth season" due to its "seamless integration of character development, social commentary and the supernatural."[5] Juliette Harrisson of Den of Geek named "Kaddish" the best stand-alone episode of season four and called its conceit "absolutely real and utterly tragic" despite being "highly fantastical".[12] Zack Handlen of The A.V. Club rated the episode "B+", opining that, while it was "the sort of episode that works best if you enjoy it for its style and presentation without getting too caught up in the script", it felt "appropriate".[13] Handlen did, however, criticize the episode's characterization of Scully, noting that her scientific counter-arguments were "becoming less about applying common sense to madness, and more just arguing for arguing's sake."[13]
Shearman and Pearson awarded the episode three stars out of five and called it "one of [Gordon's] best".[10] Furthermore, the two praised many aspects of the script, particularly the "real anger" that made the episode "something special".[10] Despite this, they felt that the plot "offer[ed] nothing unexpected" and that its position, after the revelation that Scully has cancer in "Leonard Betts" caused it to look "as if it's cheating on the consequences of Scully's illness".[10] Paula Vitaris from Cinefantastique gave the episode a positive review and awarded it three stars out of four.[14] She called it a "flawed yet unusually affecting episode".[14] Vitaris cited the Golem's disintegration as "a leitmotif, a reminder of death, a beautiful way to translate into visual terms the depth of Ariel's grief."[14]
Shearman, Robert; Pearson, Lars (2009). Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen. Mad Norwegian Press. ISBN978-0975944691.
"Grotesque" is the fourteenth episode of the third season of the science fiction television series The X-Files and the show's 63rd episode overall. It premiered on the Fox network in the United States on February 2, 1996. It was written by Howard Gordon and directed by Kim Manners. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. "Grotesque" earned a Nielsen household rating of 11.6, being watched by 18.32 million people in its initial broadcast. The episode received mostly positive reviews from television critics.
"Quagmire" is the twenty-second episode of the third season of the science fiction television series The X-Files. It premiered on the Fox network in the United States on May 3, 1996. It was written by Kim Newton and directed by Kim Manners. The episode is a "Monster of the Week" story, unconnected to the series' wider mythology. "Quagmire" earned a Nielsen household rating of 10.2, being watched by 16 million viewers in its initial broadcast. The episode received mostly positive reviews from television critics.
"The Field Where I Died" is the fifth episode of the fourth season of the American science fiction television series The X-Files. It was written by Glen Morgan and James Wong, and directed by Rob Bowman. The episode originally aired in the United States on November 3, 1996, on the Fox network. It is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology. This episode earned a Nielsen rating of 12.3 and was seen by 19.85 million viewers upon its initial broadcast.
"Unrequited" is the sixteenth episode of the fourth season of the American science fiction television series The X-Files. It was written by Howard Gordon and series creator Chris Carter, and directed by Michael Lange. It originally aired in the United States on February 23, 1997, on the Fox network. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology. This episode earned a Nielsen rating of 10.9 and was seen by 16.56 million viewers upon its initial broadcast. "Unrequited" received mixed to negative reviews from television critics.
"Synchrony" is the nineteenth episode of the fourth season of the American science fiction television series The X-Files. It was written by Howard Gordon and David Greenwalt and directed by James Charleston. The episode aired in the United States on April 13, 1997 on the Fox network. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology. "Synchrony" earned a Nielsen rating of 11.3, being watched by 18.09 million people upon its initial broadcast. The episode received mixed to positive reviews from television critics.
"Zero Sum" is the twenty-first episode of the fourth season of the American science fiction television series The X-Files. It premiered on the Fox network on April 27, 1997. It was directed by Kim Manners, and written by Frank Spotnitz and Howard Gordon. "Zero Sum" included appearances by William B. Davis, Laurie Holden and Morris Panych. The episode helped to explore the overarching mythology, or fictional history of The X-Files. "Zero Sum" earned a Nielsen household rating of 11.7, being watched by 18.6 million people in its initial broadcast. The episode has received mixed to positive responses from critics.
"Elegy" is the twenty-second episode of the fourth season of the American science fiction television series The X-Files. It was written by John Shiban and directed by James Charleston. The episode aired in the United States on May 4, 1997, on the Fox network. It is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology, although Scully's battle with cancer is an important plot point. "Elegy" earned a Nielsen rating of 10.6 and was seen by 17.1 million viewers upon its initial broadcast. The episode received mostly positive reviews from televisions critics; the performance of lead actress Gillian Anderson was especially praised.
"Gethsemane" is the twenty-fourth and final episode of the fourth season of the American science fiction television series The X-Files. It premiered on the Fox network on May 18, 1997. It was directed by R.W. Goodwin, and written by series creator Chris Carter. "Gethsemane" featured guest appearances by Charles Cioffi, Sheila Larken and Pat Skipper, and introduced John Finn as recurring character Michael Kritschgau. The episode helped to explore the overarching mythology, or fictional history of The X-Files. "Gethsemane" earned a Nielsen household rating of 13.2, being watched by 19.85 million people in its initial broadcast.
"Redux" is the two-part fifth season premiere of the science fiction television series The X-Files. "Redux" first aired on November 2, 1997, on Fox in the United States, with "Redux II" airing on November 9. Both episodes subsequently aired in the United Kingdom and Ireland. Both episodes were written by series creator Chris Carter, with "Redux" directed by R. W. Goodwin and "Redux II" helmed by Kim Manners. "Redux" became the second-most-watched episode ever broadcast, earning more than 27 million viewers in the United States alone. The first part of the episode received mixed to negative reviews, whereas the second part received mixed to positive reviews from critics.
"Schizogeny" is the ninth episode of the fifth season of the science fiction television series The X-Files. It premiered on the Fox network on January 11, 1998. It was written by Jessica Scott and Mike Wollaeger, directed by Ralph Hemecker, and featured guest appearances by Bob Dawson, Myles Ferguson, Katharine Isabelle, Chad Lindberg, and Sarah-Jane Redmond. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. "Schizogeny" earned a Nielsen household rating of 12.9, being watched by 21.37 million people in its initial broadcast. The episode received mixed to negative reviews, with several critics calling it the worst episode of The X-Files.
"The Red and the Black" is the fourteenth episode of the fifth season of American science fiction television series The X-Files. It was written by series creator Chris Carter and Frank Spotnitz, directed by Carter and aired in the United States on March 8, 1998, on the Fox network. The episode earned a Nielsen household rating of 12.0, being watched by 19.98 million people in its initial broadcast. The episode received moderately positive reviews from critics.
"All Souls" is the seventeenth episode of the fifth season of the American science fiction television series The X-Files. The episode originally aired on the Fox network on April 26, 1998. The episode's teleplay was written by Frank Spotnitz and John Shiban, from a story by Dan Angel and Billy Brown; it was directed by Allen Coulter. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the mythology, or overarching fictional history, of The X-Files. "All Souls" received a Nielsen household rating of 8.5 and was watched by 13.44 million viewers in its initial broadcast. It received mixed reviews from television critics.
"The Pine Bluff Variant" is the eighteenth episode of the fifth season of the American science fiction television series The X-Files. It was written by John Shiban and directed by Rob Bowman. The episode aired in the United States on May 3, 1998 on the Fox network. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology, or fictional history. "The Pine Bluff Variant" received a Nielsen household rating of 11.4 and was watched by 18.24 million viewers in its initial broadcast. It received largely positive reviews from television critics as well as fans on the internet.
"Folie à Deux" is the nineteenth episode of the fifth season of American science fiction television series The X-Files. It was written by Vince Gilligan and directed by Kim Manners. The episode originally aired on May 10, 1998, in the United States on the Fox network. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology, or fictional history. The episode earned a Nielsen household rating of 11.0, being watched by 17.63 million viewers upon its initial broadcast. It received largely positive reviews from critics.
"The End" is the 20th and final episode of the fifth season, and 117th overall of the science fiction television series The X-Files. The episode first aired in the United States and Canada on May 17, 1998. "The End" subsequently aired in the United Kingdom on March 17, 1999, on BBC One. The episode was written by executive producer Chris Carter, and directed by R. W. Goodwin. "The End" earned a Nielsen household rating of 11.9, being watched by 18.76 million people in its initial broadcast. The episode received mixed to positive reviews from television critics.
"Kill Switch" is the eleventh episode of the fifth season of the science fiction television series The X-Files. It premiered in the United States on the Fox network on February 15, 1998. It was written by William Gibson and Tom Maddox and directed by Rob Bowman. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. "Kill Switch" earned a Nielsen household rating of 11.1, being watched by 18.04 million people in its initial broadcast. The episode received mostly positive reviews from television critics, with several complimenting Fox Mulder's virtual experience. The episode's name has also been said to inspire the name for the American metalcore band Killswitch Engage.
"Mind's Eye" is the sixteenth episode of the fifth season of the American science fiction television series The X-Files. The episode first aired in the United States on April 19, 1998 on the Fox network. It was written by Tim Minear and directed by Kim Manners. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology. "Mind's Eye" received a Nielsen household rating of 10.4 and was watched by 16.53 million viewers. The episode received moderately positive reviews, with many critics praising Lili Taylor's performance as Glenn. For her work in this episode, Taylor was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Drama Series.
"Hungry" is the third episode of the seventh season of the science fiction television series The X-Files. It premiered on the Fox network in the United States on November 21, 1999. It was written by Vince Gilligan, directed by Kim Manners, and featured a guest appearance by Chad Donella. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. However, unlike previous Monster-of-the-Week stories, "Hungry" is told from the monster's perspective. "Hungry" earned a Nielsen household rating of 9.6, being watched by 16.17 million people in its initial broadcast. The episode received mixed to positive reviews from critics.
"Fight Club" is the twentieth episode of the seventh season of the science fiction television series The X-Files. It premiered on the Fox network in the United States on May 7, 2000. It was written by series creator Chris Carter, directed by Paul Shapiro, and featured a guest appearance by Kathy Griffin. The episode plot serves as a "Monster-of-the-Week" story, which is unconnected to the series' wider mythology. "Fight Club" earned a Nielsen household rating of 6.9, being watched by 11.70 million people in its initial broadcast. The episode received mostly negative reviews from television critics.
"Chinga" is the tenth episode of the fifth season of the American science fiction television series The X-Files. It was written by noted author Stephen King and series creator Chris Carter, and directed by Kim Manners. The episode aired in the United States on February 8, 1998, on the Fox network. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology. "Chinga" earned a Nielsen rating of 12.8 and was viewed by 21.33 million viewers. The episode received mixed reviews from television critics.
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