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I am interpreting the most iconic and influential cultural artifacts that elevate the Country Club golfer as the villain and the outsider, styled to represent the antithesis of Country Club culture, as the hero.
Happy Gilmore is one example, the other most influential film that explores these themes is Caddyshack where we also see a Jewish outsider, Al Czervik played by Rodney Dangerfield (born Jacob Cohen), come into conflict with the Gentile Judge Smails (played by Ted Knight). Interestingly, Czervik tells Smails he did not come to the club as a guest in order to acquire membership but to buy the club. So there's another layer of meaning there- Czervik is not trying to gain access as a member he's trying to take over the institution. There's no question the film is getting at a deeper message of new Jewish arrivals, "guests", acquiring financial success and coming into cultural conflict with the WASP "old guard"- expressing as a struggle over the control of cultural institutions, and the criticism of those too closely associated with Whites.
It's a much stronger and less useful claim to say that these films "started the trend" of ressentiment towards Country Club golf culture, my claim is merely that they represent it through a highly influential medium. And in both cases the conflict between the Country Club golfer and the low-class or homo novus outsider is ethnically coded as a conflict between Jews and Gentiles, with the Jews winning and the Gentiles being humiliated. It demoralizes those who identify with that culture and moralizes the people who hate it, whether that hatred is derived from ethnic or class resentment.
There's no question that there are many instances of Country Club Critique in other films, like this comedic bit in Better Call Saul where Goodman causes a scene by accusing the Club of being antisemitic. The most iconic and influential films that explore this theme are encoding an ethnic conflict along with a class conflict, and that's largely why they are compelling to this day.
I'm also reminded of the golf course scene from Falling Down, though D-FENS isn't exactly a hero. https://youtube.com/watch?v=x1-axqBZdNk
Haven't seen that but good one. Michael Douglas also kills a neo-Nazi store owner in that one.
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I mean, George of the Jungle doesn't involve golf, but the villain is very clearly a country club WASP, but I wouldn't say George is coded as being Jewish.
George from George of the Jungle was inspired by George Eiferman. So the character was based on a Jew originally, and the hunter villain is a WASP with an Oxford accent.
Brendan Fraser is not Jewish, although that's a popular misconception because Fraser played the role of David Greene in School Ties:
Of course his identity his exposed by Charlie (Matt Damon) and the whole school turns on him- bullying, Swastikas, etc.
The point is not that all myths or movies feature a "Jew versus Gentile" conflict, but to say "Jewish hero and Gentile villain" is a very common esotericism in film that transmits a certain, particularly Jewish perspective of ethnic conflict into the consciousness of mass audiences. Caddyshack and Happy Gilmore are two examples.
The same phenomenon appears in Hollywood mockery and criticism of Fraternities, like in Accepted, Revenge of the Nerds (who join the Black fraternity (!) to get revenge on Alpha Beta), Animal House, etc.
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