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Restored Yiddish film ‘I Have Sinned’ captures pre-war Polish Jewry
There’s an old British expression, “a curate’s egg.” The story goes that a couple once hosted their vicar for dinner and served him an egg, not realizing that it wasn’t very fresh. When they asked him how he liked it, the vicar, a tactful person, said: “Parts of it were excellent.”
The 1936 Yiddish film Al Khet (I Have Sinned), digitally restored by the National Center for Jewish Film and screened this week at the New York Jewish Film Festival, is a curate’s egg.
On the one hand, it’s incredibly primitive, and not because of its age. Its story, about the ill-starred romance of a Jewish military officer and what happens 20 years later, is nothing with nothing; the second half is shamelessly melodramatic, and the pace is slow, too.
On the other hand, the legendary comic duo Dzigan and Schumacher, in their film debut, are superb; the rich Polish Yiddish is delicious, and as a snapshot of mid-1930’s Polish Jewry, it’s extraordinary.
Al Khet was the first Yiddish talkie made in Poland, where even later Yiddish films had technical frailties. Even the beautifully produced and photographed The Dybbuk (1937) suffers from clumsy sound editing. But compared to American or French films from the same year, Al Khet looks prehistoric. Exterior scenes were shot silent and dialogue was dubbed in afterwards with zero regard for synchronization, so that at times people are shown to be speaking with their mouths completely closed.
The acting ranges from simple and straightforward to children’s-theater pantomime. There are errors in basic continuity: In one scene, an army officer says goodbye to his sweetheart, and in the next scene he asks his friends to say goodbye for him, because he can’t do it!
But Al Khet is the only Yiddish film — the only film in any language, actually, as far as I know — to deal with the effects of WWI on Eastern European Jewry. An illegitimate birth is a major plot element, which would have been unthinkable in a contemporaneous American movie.
And no film paints a more detailed picture of life in interwar Yiddishland. The unselfconscious coexistence between religious and secular Jews; the work life of tailors (Jews, under 10% of the population, made up almost half of Poland’s clothing industry); the veneration of America; the texture of religious life, with its daily prayers, crowded crack-of-dawn ‘slikhos‘ services before the holidays, tsitsis gone dingy from constant wear… they’re all there.
After some stock footage of WWI to establish the era, the opening few minutes are pure documentary: cobblestone alleys, wooden houses, a Jew leading a goat on a rope, a water-carrier bringing pails up to an apartment with no plumbing, and so on. A similar montage opens Yidl Mitn Fidl (“Yiddle with his Fiddle”) which was shot in Poland the following year, and I’ve long suspected that its purpose was to enable those who had long since left “the Old Country” to see a bit of it again.
The film’s biggest asset is, of course, Dzigan and Schumacher.
Al Khet is commonly assumed to be a comedy-team vehicle — the sort of thing Abbott and Costello used to turn out. But Dzigan and Schumacher did not play set characters, they varied what they did for each of their smart, satirical sketches; they were the Jewish grandfathers of Bob and Ray, so to speak. And they’re in supporting roles, playing the protagonists’ helpful friends — the traditional ‘comic relief’ slot.
Still, they walk off with the movie. Their acting is off-the-cuff and naturalistic, they have great chemistry and of course, they’re very funny. In the film’s best comedy scene, Schumacher stands in his room wearing his talis (prayer shawl) and tefilin (phylacteries) and mumble-chanting his way through shakharis, the morning prayer, when Dzigan enters and peppers him with questions. Of course Schumacher can’t answer (there’s no chatting allowed during prayer), but he drops Yiddish words and phrases into the Hebrew prayers, folding them right into his mumbling.
(At the NYJFF screening, this scene seemed to go over most of the audience’s heads. Either they couldn’t tell the difference between the Hebrew and the Yiddish, or the style of Jewish prayer had been lost somewhere in the generations. It’s a sad thought either way.)
Two other cast members are of interest. Kurt Katch, who plays a secular Jewish father in the film, began his career in the heyday of silent German cinema and wound up in Hollywood, where he appeared in some of the major titles of the 1940’s, like Watch on the Rhine and The Mask of Dimitrios.
Ruth Turkow, born Ruth Kaminska, who played his daughter, was genuine Yiddish theater royalty: her mother, Ida Kaminska, one of the most important figures in mid-century Yiddish theater, was nominated for a Best Actress Oscar for her performance in The Shop on Main Street, and her grandmother was Ester-Rokhl Kaminska, known as “the mother of Yiddish theater.”
The film features a fine score by Henokh Kon (who also composed the score for The Dybbuk). One song he wrote for Al Khet, “Shpil zhe mir a lidele in yidish” (“Play Me A Yiddish Song”), became a standard that’s still in the repertoire.
The new English subtitles are also a bit of a mixed bag. For example, when the Al Khet prayer is recited, no subtitle appears — even though it’s the title of the film! On the other hand, the translator (the talented Mikhl Yashinsky) is smart enough to keep the language colloquial. Too many new subtitle translations use dry, clinical language — the sort of thing you get from GoogleTranslate — and have no feel for idiomatic speech, so that the audience often has no idea what the characters are really saying. Still, some subtitles go by too fast to be read, or they scroll by at a steady high speed that forces the viewer to stare at the bottom of the screen and avoid looking at the actual movie.
And there are some nice things to look at. Though the picture quality varies with the different source materials used in the restoration, the cinematographer’s eye is still evident, and the exterior long-shots especially have some arresting compositions.
I wouldn’t recommend Al Khet as anyone’s first Yiddish movie — that ought to be Grine Felder, Overture to Glory or Uncle Moses — but for those with an interest in juicy, authentic Yiddish or pre-war Jewish life in Europe, it’s invaluable.
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50 years after the Dirty War, Argentinians remember the Jews who ‘disappeared’
(JTA) — BUENOS AIRES — As Argentina marks the 50th anniversary of the 1976 military coup, a lesser-known aspect of the dictatorship is gaining attention: the disproportionate number of Jews among the disappeared.
Estimates suggest that as many as 1,900 Jews were abducted, tortured and murdered by the military junta during the six-year Dirty War, when many sources say 30,000 people were disappeared. Depending on the source, Jews represented 5% to 8% of the total, even though Jews made up less than 1% of Argentina’s population at the time.
That grim history is being explored in educational initiatives by Argentina’s Jewish community, aimed at younger generations and focused on understanding how the dictatorship operated and the disproportionate suffering it inflicted on Jews.
“The Jews were subjected to a particular form of treatment that resulted in greater brutality on the part of the repressive forces,” according to a new curriculum released by the education department of AMIA, the Jewish community center in Buenos Aires. “The experience of Jewish Argentines who were victims of state terrorism was marked by a strong antisemitic imprint among many members of the task forces.”
The AMIA project includes meetings between Jewish youth and relatives of the Jewish “disappeared,” as well as visits to memorial sites. Some 1,000 students are expected to take part this month.
A parallel digital project, Eduiot (“Testimonies”), documents the stories of Jewish victims of the military dictatorship and includes meetings between relatives of the disappeared and high school students.
The materials rely on personal testimonies to explain the human impact of the dictatorship and to put individual stories in the broader historical context.
Eduiot includes the story of Fernando Ruben Brodsky, a 22-year-old student who disappeared in 1979, including accounts from relatives who continue to seek answers. His mother, Sarah Brodsky, shares accounts of her son, a psychology student and kindergarten teacher who was abducted from his home on Aug. 8 and never seen again.
The testimonials relate how security forces subjected Jews to antisemitic abuse when they were kidnapped or detained, including Nazi language and symbols and “special” interrogations reserved for Jews.
The anniversary comes amid renewed debate over how Argentina interprets the dictatorship. President Javier Milei’s government has called for a broader account that also includes victims of left-wing guerrilla violence, which some suggest is a way to minimize the crimes of the dictatorship. Milei and other voices close to the government have also questioned the 30,000-victim figure, promoting a lower number (often 9,000).
Under the junta, the military and state security forces targeted suspected left-wing sympathizers, including students, unionists, journalists and activists.
In 1979, Jewish advocacy groups such as the Anti‑Defamation League expressed grave concern over the disappearances, focusing on the Jewish victims, and Jewish families in Argentina and abroad helped compile lists of the missing. According to an ADL official at the time, “Jews are not specifically targeted as Jews. However, the security agents tend to be suspicious of Jews.”
The best-known Jewish target of the state was journalist Jacobo Timerman, who published a left-leaning newspaper, La Opinion. In 1977, the generals who ruled Argentina shut down the paper and imprisoned Timerman. Among other things, Timerman was accused of masterminding a plot to establish a Jewish homeland in the remote Patagonia region of southern Argentina.
He survived, and in his 1981 memoir, “Prisoner Without a Name, Cell Without a Number,” he recounted how he was subjected to torture during his 2 1/2 years in confinement.
According to Eduiot, Jewish advocacy for the disappeared “proved effective in bringing early attention to human rights violations.” The U.S. Congress launched investigations, and in a 1978 article in Le Monde, novelist and Holocaust survivor Marek Halter compared the persecution of Argentine Jews to Nazi-era atrocities.
The Eduiot site includes photographs and audiovisual material, and features the accounts of parents, siblings, cousins, nephews and nieces of Jews persecuted and disappeared under the dictatorship.
“Because every testimony matters and holds great value,” according to its website. “Because these dark episodes of our history must never be repeated, and because we want each of the disappeared to have a space of remembrance on this site, helping families sustain their memory and uphold the call for justice.”
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Fortnite tops ADL’s new ‘leaderboard’ ranking video games on antisemitism safeguards
(JTA) — The online video game Fortnite tops the Anti-Defamation League’s “leaderboard” ranking online video game companies on their efforts to curb antisemitism and extremism on their platforms.
The Online Gaming Leaderboard, which the antisemitism watchdog billed as the “first comprehensive public evaluation” of how online multiplayer games address antisemitism, ranked 10 popular online games based on safety features, moderation, player protections and written policies meant to address antisemitism and hate.
Fortnite was followed at the top of the rankings by Grand Theft Auto Online, Call of Duty and Minecraft. Games labeled as having “limited protection” by the ADL included Counter-Strike 2 and PUBG: Battlegrounds.
Madden NFL, Valorant, Clash Royale and Roblox, a collaborative computer gaming platform for children as young as 7, were ranked as having “moderate protection.”
“Without strong safeguards, these platforms can become breeding grounds for harassment and hateful activity that harms players directly, normalizes hateful ideologies and damages trust,” Jonathan Greenblatt, the CEO of the ADL, said in a statement Wednesday. “This leaderboard provides the transparency that parents, gamers and the industry need to understand where companies are succeeding and where urgent improvements are necessary.”
The leaderboard’s release coincided with a landmark Los Angeles jury verdict finding Meta and YouTube liable for harming a young user through addictive design features.
In the virtual worlds of online gaming, players have posted abusive messages in chats, created antisemitic imagery and even given themselves bigoted usernames.
While Fortnite ranked first, the popular online game has also previously faced scrutiny over allegations that it enabled antisemitic content. Last September, it disabled a character dance feature after users said its gestures resembled a swastika.
Roblox, which has long faced criticism over content moderation, has also been the subject of controversy, including in 2022 when it removed a user-created simulation of a Nazi gas chamber. In the wake of the Oct. 7 attacks in 2023, the Israeli government also urged users to report pro-Palestinian activity in the game that it said included antisemitic content.
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Iran Posts AI Video Showing Missile Striking Statue of Liberty
An Israeli air defense system intercepts a ballistic missile barrage launched from Iran to central Israel during the missile attack, February 27, 2026. Photo: Eli Basri / SOPA Images via Reuters Connect
Iran on Tuesday released an AI-generated video depicting a missile striking the Statue of Liberty in New York Harbor, a global symbol of American freedom and democracy, in one of the regime’s latest propaganda efforts to influence public perception abroad.
Shared by Iranian state broadcaster IRIB as well as a Telegram channel affiliated with the Islamic Revolutionary Guard Corps (IRGC), the minute-long video ends with the slogan “One vengeance for all.”
IRGC Official Telegram Channel Releases AI Video Depicting Iranian Ballistic Missile Strike on United States, Hitting New York City and Toppling Statue of Liberty Shown as Idol of Baal Holding Babylonian Talmud pic.twitter.com/JhgNgHW2Zz
— MEMRI (@MEMRIReports) March 25, 2026
The video was also circulated by Russian state outlet RT, in what appears to be a stark and symbolic threat against the United States.
‘ONE VENGEANCE FOR ALL’ — Iran ‘bombs’ the Statue of Liberty WITH THE HEAD OF BAAL pic.twitter.com/6tPH15fqkZ
— RT (@RT_com) March 25, 2026
Since the start of the US-Israel war with Iran, which began on Feb. 28, Iranian officials have ramped up their propaganda and disinformation efforts, trying to portray Washington and Jerusalem as responsible for decades of regional conflict while seeking to influence left-leaning Americans to mobilize domestic opposition to the war.
This latest widely circulated video presents a striking sequence portraying the United States as the world’s enemy, drawing on imagery from the dispossession of Native Americans and the atomic bombings of Japan to the Vietnam War and more recent Middle Eastern conflicts to craft a sweeping narrative of American aggression.
The clip also features footage alluding to a child on Jeffrey Epstein’s private island — a recurring theme in Iran’s messaging used to suggest that US President Donald Trump launched the current war to distract the public from the Epstein scandal, in which the late financier was convicted of running a sex-trafficking ring involving underage girls and, allegedly, various influential figures.
Later in the video, AI-generated figures of Iran’s former Supreme Leader Ayatollah Ali Khamenei and the late Iranian Major General Qassem Soleimani are shown gazing skyward. Khamenei was killed in an Israeli airstrike on Feb. 28, and Soleimani was killed in a US drone strike in 2020.
The final sequence of the video depicts a missile in Iranian colors striking the Statue of Liberty in New York Harbor, whose head has been replaced with that of Baal, a false god from the Bible, while the statue holds the Talmud, a key collection of Jewish religious teachings and laws.
This video is the latest example of AI-generated propaganda released since the start of the war with Iran.
Last week, Chinese state television CCTV released a separate AI-generated clip illustrating Beijing’s perspective on the Strait of Hormuz crisis, featuring Persian cats in martial arts combat and an eagle-headed human representing the United States.
Experts note that Russian dissemination of Tehran’s video reflects a broader coordinated effort to use visual propaganda to challenge US foreign policy and influence global perceptions amid rising regional tensions.
The latest video came as the US and Iran began engaging in diplomacy over a possible resolution to the war, although Tehran has reportedly responded negatively to Washington’s proposal.