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Disney+ series ‘A Small Light’ tells the Anne Frank story from the perspective of the woman who hid her
(JTA) — The short life of Anne Frank has inspired generations of filmmakers and television producers. The list of past productions range from “The Diary of Anne Frank” (1959), whose director George Stevens witnessed Nazi occupation as a U.S. army officer, to the Academy Award-winning documentary “Anne Frank Remembered” — featuring the only known footage of Anne — to the Emmy Award-winning dramatized miniseries “Anne Frank: The Whole Story” (2001).
On Monday night, viewers will get another TV version. But “A Small Light,” an eight-episode series premiering on National Geographic and streaming Tuesday on Disney+, tells the story from a new perspective: through the eyes of the woman who hid the Frank family.
Miep Gies was an independent 24-year-old with a busy social calendar and a dance club membership when she began working for Anne Frank’s father Otto in 1933 at Opekta, his successful jam business in Amsterdam. As Jews were rounded up and deported from the Netherlands in 1942, her Jewish boss asked if she would be willing to hide his family in an annex above the office, and she did not hesitate.
“A Small Light” stars Bel Powley as Gies, Joe Cole as her husband Jan Gies and Liev Schreiber as Otto Frank. It’s named for a quote from the real Gies, who once said that she did not like to be called a hero because “even an ordinary secretary or a housewife or a teenager can turn on a small light in a dark room.”
That metaphor had literal meaning for the Frank family and four others in the secret annex, who spent two years in a dark 450-square-foot space behind a hinged bookcase. Gies, her husband and four other employees of Otto Frank secretly kept eight Jews alive while running his business downstairs. Gies brought them food and library books, using black market ration cards and visiting several different grocers to avoid suspicion. Anne Frank said in her diary, “Miep is just like a pack mule, she fetches and carries so much.”
In the series, the “dark room” is seen less than Gies’ frenzied bicycle trips across Amsterdam, as she tries to sustain the appearance of a normal life. Her secret pushes her away from friends and family, while her marriage strains under the weight of ever-looming disaster. The creators of “A Small Light” sought to recreate a hero as a modern, flawed, at times even annoying person.
“She’s not some kind of saint,” executive producer Joan Rater told the Jewish Telegraphic Agency. “She had moods, she had a new marriage, she wanted to hang out with friends. She wanted to take a day off and she couldn’t.”
“I think everyone can relate to Miep,” said Powley, an English-Jewish actress known for starring in several British shows and in American films such as “The King of Staten Island.” “She was just an ordinary person in extraordinary circumstances.”
Although “A Small Light” is rife with tense scenes and suspense, the producers fashioned it with young audiences in mind. The show conspicuously avoids the explicit violence and horror typically expected of its subject matter, leaving out concentration camps and murders. Rater and co-creator Tony Phelan wanted children like their own to watch the series. While they were writing it, their daughter was the same age as Anne was when she was writing her diary.
Some young viewers have seen Anne’s story being swept up in literary purges across U.S. school districts, as part of the debate over what should be taught in American classrooms. Earlier this month, a Florida high school removed an illustrated adaptation of her diary after determining that references to her sexuality were “not age appropriate.” The same edition was previously yanked from a Texas school district, although it was reinstituted after public outcry. Meanwhile, a Tennessee school board banned “Maus,” Art Spiegelman’s Pulitzer Prize-winning graphic novel about his father’s experience in the Holocaust, after objections over curse words and nudity last year.
The name “Anne Frank” has long been synonymous with Holocaust education as her diary remains one of the world’s most-read books, with translations in over 70 languages. But the “relatable” rescuer presents another appealing way to teach children about one of the most wretched chapters in human history, said Brad Prager, a professor of German and film studies at the University of Missouri.
“It is the message that people like to hear,” Prager told the JTA. “If you ask a fourth-grader why we watch TV and movies — well, this is so that you can learn to do the right things, or you can learn that in certain circumstances anyone can be a hero.”
Liev Schreiber plays Otto Frank and Amira Casar plays Edith Frank in “A Small Light.” (National Geographic for Disney/Dusan Martincek)
A broader lens on the Netherlands during World War II is less palatable. The Germans and their Dutch collaborators implemented a highly effective system of persecution: Between 1942 and 1944, about 107,000 Dutch Jews were deported primarily to Auschwitz and Sobibor, then murdered. Only 5,200 of them survived.
Although Gies did everything she could to save the Jews in her care, the unwritten ending to Anne’s diary is well-known. Three days after her last entry in August 1944, Dutch police officers led by SS officer Karl Josef Silberbauer raided the annex. Gies escaped arrest by observing that she and Silberbauer shared a hometown.
“My luck was that the police officer in charge came from Vienna, the same town where I was born,” she said in a 1997 interview with Scholastic. “I noticed this from his accent. So, when he came to interrogate me, I jumped up and said, as cheerfully as I could, ‘You are from Vienna? I am from Vienna too.’ And, although he got very angry initially, it made him obviously decide not to arrest me.”
In a valiant last-ditch effort, Gies walked into the German police office the next day and attempted to buy her friends’ freedom. She was unsuccessful.
Gies found Anne’s notebooks and papers strewn on the annex floor. Without reading them, she gathered and tucked the writings into a drawer, hoping to return them to their owner. Germany had all but lost the war already, with Allied troops less than 250 miles from Amsterdam.
The Franks were packed on the last train ever to leave the Westerbork transit camp for the Auschwitz extermination camp. Otto was separated from his wife Edith and daughters Anne and Margot on the Auschwitz platform. In October, the girls were transported to Bergen-Belsen, and Edith succumbed to starvation in January 1945. Her daughters died of typhus a month later, when Anne was 15 years old.
Some studies have suggested that knowledge about the Holocaust is diminishing. In 2020, the Claims Conference found that 63% of Millenial and Gen Z Americans (ages 18-39) did not know that six million Jews were murdered in the Holocaust. More than 10% did not recall ever hearing about the Holocaust, while 11% believed that Jews caused it. Another Claims Conference survey reported that despite living in the country where Anne hid from the Nazis, a majority of Dutch people did not know the Holocaust took place there.
“In a time that antisemitism is on the rise and there are more displaced people in the world than there ever have been before, it couldn’t be a better time to re-explore this part of history, but through the lens of this ordinary young woman,” said Powley.
While “A Small Light” celebrates the power of the individual, the fate of Anne Frank also represents the failure of the whole world, said Prager. By centering Gies’ perspective, he said, the series risks making Anne a peripheral character in her own brutally aborted story.
“When you decenter Anne Frank, one thing is that you lose the Jewish perspective on the persecution,” he said.
Otto Frank, the sole survivor from the annex, appeared at Jan and Miep Gies’ doorstep after the war and ended up living with them for over seven years. In July 1945, Gies watched as he received the notice that his children were dead.
“He took it in his hands and suddenly he became eerily quiet,” Gies said in an interview for the Anne Frank House. “You cannot explain it, it was a silence that speaks. I looked up. He was white as a sheet. And he handed me the letter.”
Gies read the piece of paper, stood up and opened her desk drawer. “I took all the diaries, with all the separate sheets and everything and handed them over to Mr. Frank,” she said.
She told him, “This is your daughter Anne’s legacy.”
In 2010, Gies died at 100 years old. Every year on Aug. 4 — the day the Franks were arrested — she stayed at home, drew her curtains and did not answer the phone or doorbell.
Powley believes the show’s angle gives a fresh perspective on “your mom’s dusty copy of Anne Frank’s diary.” She approached the role of Gies with a heavy sense of responsibility.
“I feel a deeper connection to this story than I have with other projects,” she said. “This offer came to me on Holocaust Memorial Day and it immediately had that special feeling to it. My grandma, the Jewish matriarch of my family, died during COVID. I feel that she would be proud.”
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The real anti-Zionists are at the highest levels of the Israeli government
The fact that about half of young American Jews favor replacing Israel with a binational Israeli-Palestinian state is indeed a result of anti-Zionism — but not necessarily their own.
Instead, it’s a consequence of the Israeli government’s drive to radically increase Israeli control over the West Bank and Gaza. By ensuring that some 5.5 million Arabs increasingly live under Israel authority, Israel’s leaders have created the demographic reality of a binational state.
We can’t blame young American Jews for just acknowledging reality. Instead, it’s time to acknowledge that a movement to undermine Zionism has taken hold within the Israeli government.
If Zionism is the movement for a secure homeland for the Jews, then any forces that reject or undermine that homeland’s legitimacy or security are anti-Zionist. That includes the people whose positions and policies actively undermine the existence of a Jewish homeland.
The democratic Jewish state enshrined in the country’s Declaration of Independence has given way to something that looks a lot more like a herrenvolk democracy, in which democratic rights apply only to the dominant ethnic group. History has many examples of such arrangements, and — spoiler alert — they don’t end well for the majority. French Algeria until 1962, Rhodesia until 1980, South Africa until 1994 — all eventually faced one of three fates: negotiated transition to full democracy, violent collapse or ongoing instability and international isolation. To date, none have stabilized permanently.
Just recently Israeli Prime Minister Benjamin Netanyahu boasted that Israel will soon control 70% of Gaza, well beyond the 53% allotted to the country in the Gaza ceasefire framework to which Israel is still supposed to adhere.
When an audience member at his talk shouted out that Israel should take 100% of Gaza, Netanyahu responded, “First 70%. We’ll start with that.”
Then there’s the West Bank, where settlers tried to expel 2,000 Palestinians from a village south of Nablus earlier this month, and where settlers and an IDF soldier wounded nine Palestinians on a June 5 rampage through Hawara.
Since Oct. 7, 2023, Israel has established at least 59 new illegal outposts in the West Bank — compared to an annual average of seven in the preceding three decades. It has appropriated a record amount of land, and displaced more than 8,700 Palestinians through demolitions and settler violence.
There’s also East Jerusalem, where some Israeli Jews are actively trying to remove 20,000 Palestinians from the Silwan neighborhood.
Each act of seizure, harassment and expulsion is anti-Zionist. These Palestinians will not fade into Egypt or Amman or Los Angeles. Mass expulsion isn’t happening, and neither is mass immigration. A Jewish state is giving way to a state that is effectively equal parts Arab and Jewish — except the Jews have all the rights. As the anti-Zionists in the Israeli government seize control of more Palestinian land, they undo all of Zionism’s hard-fought gains. A nondemocratic Jewish state will be neither safe nor secure.
If this sounds like diasporic Jewish garment-rending over morality and Jewish values, it’s not. The people who live in a fantasy world are not those who point out the necessity of finding a way toward coexistence, but those who think Israel can survive and flourish if it trashes its founding principles and its democracy.
Logic and history are not on Israel’s side. No minority- or bare-majority-rule system over a large disenfranchised population has proved durable. I know from my many conversations with my fellow Jews who support a “Greater Israel” incorporating Gaza and the West Bank — or just want to ignore or get rid of Palestinians — that they think time, power or God will bend the iron laws of demography in Israel’s favor. History would beg to differ.
But what about the Palestinians, you might ask: don’t they bear responsibility? For decades of rejectionism and terror? For elevating kleptocratic and ineffective leaders? For glorifying violence and cheering on Hamas in its slaughter, kidnapping and rape of Israeli civilians on Oct. 7, 2023? For wanting, as many of them do, an end to Jewish sovereignty in the land?
Yes. Palestinian rejectionism and embrace of violence has been a disaster for Jews, as well as for generations of Palestinians. But those facts don’t change the demographic reality.
Of Americans Jews under 35, 51% support a binational state, according to a recent Jewish Voters Research Center poll. What they see is that there are 15 million people between the Jordan River and the Mediterranean Sea. About half of them are not Jews, much less Zionists, and one government is not just intent on holding and controlling all that territory, but well on its way to doing so. If a binational state already exists in practice, the best hope for the region, these young people are saying, is to accept that fact, and direct all our efforts toward making that state just.
They may be completely mistaken about the chances of that happening peacefully or even in their lifetimes, but they’re not the ones who got us to this point. The ongoing settlement of territories with a vast non-Jewish majority was the most anti-Zionist thing Israel could have done, and continues to do, and yet here we are.
The Jewish communal obsession with policing who is and isn’t a Zionist misses the larger point. The State of Israel exists. What’s in question is its character — whether it will be democratic and secure, or calcify into something modern history has repeatedly shown the world rejects.
Land comes with people, and demographics is destiny. A government intent on holding and controlling all the territory between the river and the sea is undermining Zionism from within.
The post The real anti-Zionists are at the highest levels of the Israeli government appeared first on The Forward.
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‘Odessa’ wants to use your empathy against you
The short film Odessa begins with what its director Harald Swinkels calls an “empathy trap.”
The film opens with a German couple and their young son hiking across the Dolomites; the woman seems anxious, the man much more energetic. They approach a church, where they are greeted suspiciously by the twins who take care of it, until they say the passcode: “Odessa.” They later try the codeword again with an innkeeper — but this time they are sent running as she calls on the village to attack them. It’s a heart-pounding scene as the family the viewer has been so closely tied to runs for their lives from a loud, angry mob.
Interspersed through the scenes of the family’s flight are blurry white and black clips of a hazy figure approaching a camera. Even with the obscured shot, the viewer can make out train tracks and recognize the setting as a concentration camp, a flashback to the world they’re leaving. It feels like your typical Holocaust film, showing the risks Jewish refugees faced at every turn and the way the trauma of the camps haunted them.
At the end of the film’s 20-minute run, however, the shadowy figure finally comes into focus. It’s the husband, but not in the striped clothes of a camp prisoner: He’s wearing an SS uniform and ordering twins to be placed in a separate line. He’s Josef Mengele.
“People take first impressions as character,” Swinkels told me in an interview. “That’s not character. You should look behind that.”
Contemporary politics inspired Swinkels, the founder of the Dutch production company Exosphere, to make the film.
“One of my most conservative friends started arguing that ‘these people’ should be kept in their own region, as he called it, and certainly not taken in by us,” Swinkels said, of debates over Syrian immigrants in the Netherlands. “And then we had this discussion about if you would feel the same about these refugees, if they look like him and me.”
Wanting to make a film about Northwestern Europeans fleeing led Swinkels to think about World War II. After an election in Denmark resulted in a right-wing shift in politics, he also became interested in exposing how charisma can hide someone’s darker nature.
Swinkels had long been interested in Josef Mengele, but when he discovered the Nazi’s duplicitous relationship with the kids in Auschwitz — survivors have testified that Mengele would bring them candy in order to gain their trust — that solidified him as the main character. The film features a quote from a Jewish prisoner forced to work for Mengele, Miklós Nyiszli, stating that the doctor “was capable of being so kind to the children” as he prepared to torture them and send them to their deaths.
“Arendt once called it the banality of evil,” Swinkels said. “But with Mengele, it’s even more dangerous because it’s the charm of evil.”
The bread crumbs leading to the family’s true identity are there for history buffs. Over the course of the film, we slowly learn their names — Josef, Irene, and Reif. “Odessa” was the American name for Nazi’s underground escape networks, although there is no historical consensus that this term was used by the Nazis or was an actual organization.
But the clues are easy enough to miss — by the time the audience learns these details, we have already formed assumptions that the protagonists of the story are likely Jews or members of another group persecuted by the Nazis.
The fact that Mengele had darker features and his wife had fairer ones adds another misleading layer. At one point, the wife abandons the journey and insists that it’ll be safer for the son to stay with her while the husband flees. It seems as though this is because she is Aryan and the husband isn’t. But, as it turns out, it’s because he is a wanted war criminal.
The short film also nods to a few other historical figures. One of the brothers at the church is named Alois, in reference to Alois Hudal, an Austrian Catholic Bishop who was a Nazi sympathizer and aided in the escape of several Nazi leaders, including Adolf Eichmann. He did not have a twin brother in real life, but this detail alludes to Mengele’s fascination with twins.
The inn-keeper who sets the village after the family, Frau Scholl, is named after Sophie Scholl, a member of the White Rose Nazi-resistance group, hinted at by white roses outside of her house in the film. They even shot the film in the Dolomites, the same mountain range Mengele crossed during his escape.
Swinkels noted that details like this can be easy to miss. “But I think you can still feel it, that we put so much detail in the film to make all these kinds of historical references,” he said.
He hopes that the film makes viewers think more carefully about charismatic figures.
“History has taught us that monsters don’t come dressed as monsters,” Swinkels said. “They come as protectors, visionaries, or loving fathers. And by the time we find that truth, it’s most often too late.”
“If a viewer walks out of Odessa and looks a little bit harder at the next person who charms them, and even better at the next person they’re about to vote for, then the film will have fulfilled its purpose.”
The short film Odessa is showing at the Tribeca Film Festival on June 13.
The post ‘Odessa’ wants to use your empathy against you appeared first on The Forward.
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Graham Platner, anti-Israel progressive, locks up Democratic Senate nomination in Maine
(JTA) — Graham Platner, the anti-Israel progressive who took Maine’s political establishment by storm this spring, has officially prevailed in his state’s Democratic Senate primary.
Multiple news outlets called the race within 90 minutes of the polls closing, with only a fraction of the votes counted.
The victory was seen as a foregone conclusion after Platner’s primary opponent, Gov. Janet Mills, suspended her candidacy in late April, saying her campaign could not afford to continue.
Still, the final tally suggested that not all Mainers had embraced the political neophyte whose campaign was dogged by controversies, including the revelation that Platner had a Nazi Totenkopf tattoo on his chest for nearly two decades until he drew criticism for it on the campaign trail. He denied knowing it was a Nazi symbol.
Mills, who remained on the ballot, drew about one in five votes in the first 10% of ballots counted, according to the tally published by The New York Times.
The result sets Platner up to face off in November against incumbent Republican Sen. Susan Collins, who has received substantial support from pro-Israel donors. The latest polls suggest a tight race.
“I’m humbled and proud to officially be your Democratic nominee for the U.S. Senate to take on Susan Collins and the billionaire class she represents. Together, we will win this seat back for working Mainers,” Platner tweeted on Tuesday night. “Thank you, Maine.”
While Democratic leaders officially threw their support behind Platner after Mills halted her campaign, many of them remained circumspect about him. Their balancing act grew more delicate in the final days of the primary race, as Platner drew allegations of antisemitism over his characterization of donations channeled to Collins by the pro-Israel lobby AIPAC and as he faced new allegations of misconduct toward women. (He said he had been a “far from perfect boyfriend” during some periods of his life but denied engaging in misconduct.)
Now, top Democrats will have to decide how hard to gun for Platner, who has become a standard-bearer in the party’s anti-Israel shift at a time when the chamber is narrowly divided.
They are already facing pressure to disavow him. “Chuck Schumer, the highest-ranking Jewish elected official in America, and every Senate Democrat propping up Platner’s campaign, should be ashamed,” the Republican Jewish Coalition said in a statement after the polls closed. “Their continued support of Graham Platner, who wore the symbol of Hitler’s SS on his chest for 18 years is an outrage. Schumer must withdraw his support immediately.”
This article originally appeared on JTA.org.
The post Graham Platner, anti-Israel progressive, locks up Democratic Senate nomination in Maine appeared first on The Forward.
