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4 decades later, new trial of alleged 1980 Paris synagogue bomber offers victims opportunity for closure
PARIS (JTA) — The courtroom was crowded but the defendant’s seat was empty on Monday as a landmark trial in French Jewish history got underway, nearly 43 years after the synagogue bombing that Hassan Diab stands accused of orchestrating.
An arrest warrant in the 1980 bombing that killed four people and wounded 46 was first issued for Diab, a Lebanese academic who lives in Canada, in 2008. Only now is a trial getting underway — and he has chosen not to attend, prompting criticism from both prosecutors and French Jews who are hoping for a sense of resolution after decades of trauma.
“Hassan Diab’s decision not to appear before your court is a great disgrace to your jurisdiction,” the attorney general said during the first day of the trial, during a discussion of whether an arrest warrant should be issued, a move that would require the trial to be dismissed.
“Which human would not make the same decision?” replied Diab’s lawyer, William Bourdon, about his client’s choice not to travel to France to stand trial. “This decision is humanly respectable. It is in no way a sign of cowardice.”
The Reform synagogue on Rue Copernic that was bombed is nested in the heart of a wealthy residential area, in Paris’ 16th arrondissement. A visitor today would not be able to tell that the ceiling had once been shattered into a million little pieces, that the floor had been spotted with blood. If not for the commemorative plaque at the entrance, nothing there would show the synagogue was once the scene of a deadly terrorist attack.
Yet the trial is freighted with the fear and anxiety that set in after what is now known as the Rue Copernic bombing on Oct. 3, 1980, understood to be the first fatal antisemitic attack in France since the Holocaust. Since then, a string of antisemitic attacks on communal targets and individuals have caused many French Jews to feel afraid, both about their personal vulnerability and about the state’s commitment to their safety.
But while the prosecution of some potentially antisemitic attacks has not always satisfied French Jews, the long ordeal to bring Diab to trial suggests great diligence on the part of many involved.
Bernard Cahen, an attorney for the synagogue and one of the victims, who is now in his 80s, promised he would see this case through until the end.
“Whatever the outcome, this has been going on for way too long,” he told the Jewish Telegraphic Agency in an interview, adding with a joke, “Everybody is surprised I’m still here to represent my clients.”
Cahen represents Monique Barbé, who lost her husband in the bombing when she was 37. Now nearly 80 and living in the South of France, Barbé won’t be coming to the trial.
“I don’t have the strength. But I can’t wait for all of this to end,” she told JTA.
About 300 worshippers were attending the Shabbat service and celebrating five bar mitzvahs that Friday evening when, at 6:35 p.m., a bomb exploded right outside the synagogue. The door was blown up, the glass ceiling collapsed on the worshippers; wooden benches were projected across the room.
Outside the synagogue the scene was even more gruesome. In his book about the case, the French journalist Jean Chichizola described “cars thrown on the road like children’s toys,” “flames licking the upper floors of adjacent buildings” and “shop windows blown up all along the street.”
In what looked like a war zone lay four bodies. Israeli TV journalist Aliza Shagrir, 44, was hit by the blast as she walked by. Philippe Boissou, 22, who was riding by on his motorcycle, also died on the spot. Driver Jean-Michel Barbé was found dead in his car, which was parked right outside the synagogue where he was awaiting clients attending the service. Nearby, a hotel worker named Hilario Lopes-Fernandez was seriously injured and died two days later.
Investigators quickly established that the bomb had been placed in the saddlebag of a Suzuki motorcycle parked in front of the synagogue. It was meant to go off precisely as the worshippers left the building, which would undoubtedly have killed many more people. But the ceremony had started a few minutes late.
At first, a man close to a neo-Nazi group claimed responsibility for the attack, misleading investigators for months before confessing he had nothing to do with it. The attack was ultimately attributed to an extremist group in the Middle East, the Popular Front for the Liberation of Palestine-Special Operations, and investigators alleged that Diab had planted the bomb. After an arrest warrant was issued in 2008, he was extradited from Canada in 2014, indicted in Paris and imprisoned.
But in a surprise to many, Diab’s case was dismissed in 2018, allowing him to return to Canada a free man. Prosecutors appealed, leading to another surprising turn of events in 2021 as the court upheld the earlier decision, directing Diab to stand trial after all.
“This is a gaping wound for the Jewish community and here in France people remember this horrible attack,” historian Marc Knobel told JTA. “Let us not forget how shocked and hurt we all were at the time.”
Indeed, outrage in the immediate aftermath of the bombing was fierce. France’s major trade unions called for a nationwide strike as a gesture of solidarity with Jews, while government ministers promised a speedy response and deployed police officers to other Jewish sites. Meanwhile, Jews marched in the streets, some vowing to take security into their own hands, in a demonstration that presaged longstanding tensions within French Jewry.
Over four decades later, Monique Barbé reflected on the tragedy that has changed her life forever.
“This has ruined my life. I was nervously wrecked for a very long time,” she said. “Imagine, I had to go identify my husband’s body. At the police station, they gave me back his half-burnt ID card and his damaged wedding ring. That’s all I was left with.”
But she questioned exactly how much the bombing and trial should register for people whose connection is more distant than her own.
“I do believe this is a necessary trial but except for those who lost their loved ones, I don’t see why anybody would still think about it today, it’s been so long,” Barbé said. “Plus there have been so many terrorist attacks since.”
Jean-François Bensahel, president of the Copernic synagogue, thinks this trial is actually of great importance even to those who were not born at the time of the attack.
“It’s engraved in our community’s history,” he said in an interview. “It’s difficult for us to understand why Hassan Diab has decided not to come to the trial but nothing is over yet. I want to trust justice will be served.”
The attack’s most lasting effects may not be in the trial but in the heavy security infrastructure that is now familiar to anyone engaging with French Jewish institutions, Bensahel said.
“Sadly, synagogues in France (and many other places) are all under protection, even though it’s completely counterintuitive to have security measures in a place of worship where you usually aspire to peace,” he said. “It shows something is not right with the world.”
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At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption
(JTA) — BERLIN — They stood outside Berlin’s Babylon theater, bundled against the cold, laughing and dragging on cigarettes: the Cunio twins David and Eitan, and their younger brother Ariel.
David and Ariel were among the last Israeli hostages released in October from Hamas captivity, after 738 days. Their presence in Berlin — for a screening of a film about them, now recut with a redemptive ending — felt almost like an apparition. On the other side of two heavy glass doors were hundreds of theatergoers, people who had long waited for this moment.
The brothers and their extended family were in Berlin for a second premiere of Tom Shoval’s film “Letter to David.” The original film, shown in 2025 at the Berlin International Film Festival, or Berlinale, dove deep into the struggles of a family whose members had been abducted from Kibbutz Nir Oz on Oct. 7, 2023. By then, six kidnapped members of the family, including three children, had been freed. But David and Ariel remained in captivity.
“Last year I was standing before the screening with a poster of David and Ariel. I was determined, every time I showed the film, to say that it’s an unfinished film,” Shoval told the sold-out audience at the theater in former East Berlin.
“And now I’m standing here. I have David in the audience, and I have Ariel in the audience,” he continued. “This is a precious, precious moment.”
The film “is a testament to love, hope and all the people who did not give up during the two years I was in captivity,” David Cunio said in Hebrew, standing on the stage with his extended family. “You gave me a voice when I could not be present. You were there for me.”
The film’s second showing came as tensions over the war in Gaza and Germany’s support for Israel roiled the Berlinale. After the jury’s president, director Wim Wenders, brushed off a journalist’s exhortation for the festival to take a stand against Israel, the Indian author Arundhati Roy announced she would not attend, and some 80 filmmakers and stars signed an open letter of protest.
Festival director Tricia Tuttle issued a statement saying that “artists should not be expected to comment on all broader debates about a festival’s previous or current practices over which they have no control. Nor should they be expected to speak on every political issue raised to them unless they want to.”
Journalists and filmmakers continued to raise the issue, even on the festival’s final weekend, when some award winners — including the Syrian-Palestinian director Abdullah Al-Khatib, who won best debut film — swatted back at the festival jury, criticizing what they see as Germany’s general support for Israel. Al-Khatib’s allegation that Germany has been “partners in the genocide in Gaza by Israel” prompted a German minister to walk out of the awards ceremony on Sunday.
Friday’s screening of “Letter to David” was by contrast a love fest, and the two police cars out front and uniformed officers circulating inside appeared to have little to do. The audience gave the entire family a standing ovation before the screening.
“I think this is a piece of history,” audience member Nirit Bialer, an Israeli who has lived for years in Berlin, said in an interview. “Just seeing the family, and just following the story about this family on the media, going to the Hostages Square in Israel every time I was there in the last two years: Wow, I’m speechless.”
The film’s original ending showed twins David and Eitan Cunio as actors, grappling with each other in an embrace that is both tender and violent, in a scene from Shoval’s feature film, “Youth,” screened at the Berlinale in 2013.
That ending now segues into a new conclusion, in which the reunited Cunio family embraces. They also view the film together, and Shoval captures their faces as the projector beams from behind.
Shoval said in an interview that he had not changed anything in the first part of the film. “I wanted to leave it as a time capsule, in a way, of how we perceived it back a year ago,” he said.
Though he had been invited to be with the family at their reunion, he chose not to, explaining, “I thought it’s a moment that belongs to them and not to me.”
But he spoke with David soon after he was released. And shortly afterward, he visited Sharon and David Cunio at their home. “I came in the morning and we sat until sunset together and we talked. Even when I’m thinking about it now, I’m getting emotional, because it was really…” He paused. “You’re waiting for a moment for this for so long.”
The Friday screening was not an official part of the Berlinale, but the beleaguered festival director Tuttle made a point of taking the stage herself. The film has been “finished in the way that Tom only hoped and dreamed and believed that he would be able to finish it,” she told the audience.
“We were horrified along with the world and all of you when David Cunio and many members of his family were abducted by Hamas,” she said. And on their release “we rejoiced with everyone as well.”
Saying that the new version was completed too late to be included in the festival schedule, Tuttle thanked two co-production companies that work closely with Israeli artists for backing Friday’s screening: the Israel-based Green Productions and the Berlin-based Future Narrative Fund.
Audience members seemed loath to leave the theater after the screening, lingering over what some described as mix of happiness and worry.
“The fact that David is able to see the movie makes us see the movie in a different way,” commented Konstantin, who had seen the original version last year. A young Jewish actor who lives in Berlin, he asked that his full name not be used, out of concerns about antisemitism. “With the ending, it’s like a full circle, completed.”
Seeing the film again with the Cunio family present “was very uplifting and very happy,” said Berliner Julia Kopp, who also saw the film last year. “But at the same time, it’s not a happy ending … I also have a bit of a heavy heart,” worrying about “how life will go on for them.”
Both brothers have indicated that reentry into everyday life has been challenging after two years of captivity for them and two years of traumatized advocacy by their loved ones. And Ariel Cunio and his partner Arbel Yehud, who was held in captivity until January, have raised nearly $1.8 million since launching a crowdfunding campaign last week aimed at allowing them the time and space to “come back to life.”
A crowdfunding campaign launched on behalf of David and Sharon Cunio their twin daughters, also former hostages, says, “The family not only has to deal with the trauma that follows being held hostage and the events that transpired on October 7th, but also needs to rebuild their entire lives from scratch.”
Shoval said the film — and the screening — offered a vision for what a more settled future might look like.
“For me, the film is about the unification of the brotherhood, and what that means to be torn apart from each other, but also to get back,” Shoval said. “They can sit in the theater and they can see themselves. They can see what they missed, what happened. They can project about the past, about the present. This is a power of cinema, I feel. It felt natural for me to do that: to bring them back.”
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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