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U.N. exhibit remembers when the world turned its back on stateless Jewish refugees
(New York Jewish Week) — In 2017, Deborah Veach went back to Germany, looking for the site of the displaced persons camp where she and her parents had been housed after World War II. They were in suspension, between the lives her parents led in Belarus before they were shattered by the Nazis, and the unknown fate awaiting them as refugees without a country.
To her dismay, and despite the fact that Foehrenwald was one of the largest Jewish DP centers in the American-controlled zone of Germany, she found barely a trace. A complex that once included a yeshiva, a police force, a fire brigade, a youth home, a theater, a post office and a hospital was remembered by almost no one except a local woman who ran a museum in a former bath house.
“It was sort of an accident of history that we were there in that particular camp in Germany, of all places, with no ties, no extended family, no place to call home,” said Veach, who was born at Foehrenwald in 1949 and lives in New Jersey. Now, “they renamed it. They changed the names of all the streets. There is nothing recognizable about the fact that it had been a DP camp.”
Veach is part of a now-aging cohort of children born or raised in the DP camps, the last with a first-hand connection to the experience of some 250,000 Jewish survivors who passed through them at the end of the war. To make sure memories of the camps survive them, the YIVO Institute for Jewish Research and the United Nations Department of Global Communications have staged a short-term exhibit, “After the End of the World: Displaced Persons and Displaced Persons Camps.”
On display at U.N. headquarters in New York City Jan. 10 through Feb. 23, it is intended to illuminate “how the impact of the Holocaust continued to be felt after the Second World War ended and the courage and resilience of those that survived in their efforts to rebuild their lives despite having lost everything,” according to a press release.
Residents of a displaced persons camp in Salzburg, Austria. Undated, post-Second World War. (YIVO Institute for Jewish Research)
Among the artifacts on display are dolls created by Jewish children and copies of some of the 70-odd newspapers published by residents, as well as photographs of weddings, theatrical performances, sporting events and classroom lessons.
The exhibit is “about the displaced persons themselves, about their lives and their hopes and their dreams, their ambitions, their initiatives,” said Debórah Dwork, who directs the Center for the Study of the Holocaust, Genocide, and Crimes Against Humanity at the Graduate Center-CUNY, who served as the scholar adviser for the exhibition.
“There’s no point where the residents of these DP camps were just sitting around waiting for other people to do things for them,” she told the New York Jewish Week. “They took initiative and developed a whole range of cultural and educational programs.”
As early as 1943, as the war displaced millions of people, dozens of nations came to Washington and signed onto the United Nations Relief and Rehabilitation Authority. (Despite its name, it preceded the founding of the U.N.) After the war, the British and U.S. military were in charge of supplying food, protection and medical care in hundreds of camps throughout Germany and Austria, and UNRRA administered the camps on a day-to-day basis.
Early on, Jewish Holocaust survivors — some who suffered in concentration camps, others who had escaped into the Soviet Union — were put in DP camps alongside their former tormentors, until the U.S. agreed to place them in separate compounds. Unable or unwilling to return to the countries where they had lost relatives, property and any semblance of a normal life, they began a waiting game, as few countries, including the United States, were willing to take them in, and Palestine was being blockaded by the British.
Abiding antisemitism was not the only reason they remained stateless. “Jews were [accused of being] subversives, communists, rebels, troublemakers, and the world war quickly gave way to cold war, and with it the notion that Hitler had been defeated and what we have to worry about is the communists,” David Nasaw, author of “The Last Million,” a history of the displaced persons, told the New York Jewish week in 2020.
In 1948 and 1950, Congress grudgingly passed legislation that allowed 50,000 Jewish survivors and their children to come to the United States. The rest were eventually able to go to Israel, after its independence in 1948.
The U.N. exhibit focuses less on this macro history — which includes what became another refugee crisis for the Palestinians displaced by Israel’s War for Independence — than on life in the DP camps.
“The exhibition illustrates how the displaced persons did not shrink from the task of rebuilding both their own lives and Jewish communal life,” said Jonathan Brent, chief executive officer at YIVO, in a statement.
Among those rebuilding their lives were Max Gitter and his parents, Polish Jews who had the perverse good luck of being exiled to Siberia during the war. The family made its way to Samarkand, in Uzbekistan, where Gitter was born in 1943. After the war ended, his parents returned to Poland, but repelled by antisemitism sought refuge in the American zone in Germany. They spent time in the Ainring DP camp, a former Luftwaffe base on the Austrian border, and at a small camp called Lechfeld, about 25 miles west of Munich.
Dolls made by stateless Jewish children residing in a DP camp near Florence, Italy, known as “Kibbutz HaOved.” The dolls are attired in local costumes based on the districts of the Tuscan city of Sienna. (YIVO Institute for Jewish Research)
“I was there until we came to the United States when I was six and a half, so I have some very distinct memories and some hazy memories,” said Gitter, emeritus director and vice chair of the YIVO board. One story he hasn’t forgotten is how his father and a friend were walking through the camp when they came upon a long line of people. “They were from the Soviet Union, so they knew that when there’s a line that it might be of interest.” It turned out to be a line for the lottery that would allow them to get into the United States under the Displaced Persons Act of 1948.
The family came to the United States in 1950, to “pretty shabby lodgings” in the Bronx, before his father bought a candy store and moved to Queens. Max went on to attend Harvard College and Yale Law School, and became a corporate litigator.
Gitter’s brother was born in one of the camps, and the exhibit includes a poster depicting the population increase between 1946 and 1947 at the Jewish DP center Bad Reichenhall. The birthrate in the camps has often been described as evidence of the optimism and defiance of the survivors, but Dwork said the truth is somewhat more complicated.
“There was a very high birth rate among the Jews in DP camps. This is the age group of reproductive age, at 20 to 40,” she said. “However, this image of fecundity hides what was rumored to be a significant abortion rate, too. And women had experienced years of starvation. Menstruation had only recently recommenced. So many women, in fact, miscarried or had trouble conceiving to begin with.”
A chart by artist O. Lec depicts the natural population increase of the Jewish Center Bad Reichenhall, Germany, 1946-1947. There was a very high birth rate among the Jews in DP camps. (YIVO Institute for Jewish Research)
“There is no silver lining here,” she added. “People live life on many levels. On the one hand, DPs look to the future and look with hope; at the same time, they carry tremendous burdens of pain and suffering and trauma and trepidations about the future.”
Veach, a member of the YIVO board, hopes visitors to the exhibit understand that such trauma is hardly a thing of the past.
“I think the real lesson is that history keeps repeating itself,” said Veach, growing emotional. “Basically we have DPs on our border with Mexico, you have DPs from Ukraine. I don’t think people realize the repercussions for these people who are trying to find a place to live. These are good people who are just placed where they are by history.”
Gitter, who like Veach will speak at an event Jan. 24 at the U.N. marking the exhibit, also hopes “After the End of the World” prods the consciences of visitors.
“A lot of the countries, a lot of places, including the United States, would not accept Jews after the war,” he said. “The issue of memory, the issue of statelessness, the issue of finally there was some hope for the Jews in their immigration to Israel and the United States — that part of the story also needs to be told.”
“After the End of the World: Displaced Persons and Displaced Persons Camps” is on view from Jan. 10-Feb. 23, 2023, at the United Nations Headquarters, 405 E 42nd St, New York, Monday-Friday, 9:00 a.m.-5:00 p.m. Entrance to the United Nations Visitor Centre in New York is free, but there are requirements for all visitors. See the United Nations Visitor Centre entry guidelines.
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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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