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Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor
(New York Jewish Week) — Bob Gottlieb, who as editor-in-chief of Simon & Schuster, Alfred A. Knopf and The New Yorker ushered into print some of the 20th-century’s most accomplished writers — Nora Ephron, Toni Morrison, Salman Rushdie, John Cheever and Ray Bradbury, to name a few — believes editing is a service job, one that should go unnoticed by the reader.
And yet, it is the relationship between editor and writer that his daughter Lizzie Gottlieb, a documentary filmmaker, explores in her latest film, “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” which premiered at the Tribeca Film Festival in 2022 and is now screening at theaters across the country.
Lizzie’s documentary sets out to explore the sometimes tense but ultimately caring relationship between her father, Bob, and one of his longest running authors, Robert Caro, who over the course of 50 years has produced “only” five major books: “The Power Broker,” a classic biography of urban planner Robert Moses, and four volumes of “The Years of Lyndon B. Johnson.”
Jews born and raised in Manhattan, Caro and Gottlieb have worked together since Gottlieb helped cut 350,000 words out of the first draft of “The Power Broker,” bringing it down to a book that ultimately ran 1,338 pages when it was published in 1974.
The thing they squabble over most often? Semicolons, still. Or, maybe, Caro’s overuse of the word “looms.”
The film, seven years in the making, takes on the ways Moses shaped New York City, the mysteries of LBJ’s political power, the sausage-making of bestselling books and the idiosyncrasies of two workaholics. It is also a story of two now elderly men — Caro is 87, Gottlieb is 91 — in what Bob Gottlieb calls an “actuarial” contest to finish Caro’s highly anticipated fifth volume of his Johnson biography.
“My dad and I are very close. We’re in constant contact with each other. If something funny happens, I call my dad. If something sad or confusing happens, I’ll call him. We’re just in each other’s lives all the time, so I didn’t feel that there was a secret I needed to uncover or something unexamined in our relationship,” said director Lizzie Gottlieb, who also teaches documentary filmmaking at the New York Film Academy.
“But the one thing I really knew nothing about in his life was his relationship with Bob Caro,” she said. “Because it was so different from anything else, and it was so kind of private. So really, the whole movie is the process of me understanding something that I didn’t understand before.”
The New York Jewish Week recently caught up with Gottlieb to talk about the making of the film, what it was like growing up in a high-profile family and how Jewishness impacts the work of the two men.
This interview has been lightly edited for length and clarity.
Lizzie Gottlieb is a documentary filmmaker who previously directed “Today’s Man” (2008) and “Romeo Romeo” (2012).
New York Jewish Week: You’ve been working on this movie for seven years. When did you realize you needed to make this movie and how did it get from start to finish?
For a long time, people would say to me, “You should make a film about your father.” I have an incredible father. He’s done a lot of great things. He’s interesting and funny. But I just thought, a film whose message is “look how great my dad is” is not a movie that anybody wants to see.
And then my father was given some award and Bob Caro was presenting the award. Bob Caro gave a speech about working with my dad over what was then 45 years. He talked about how he needs him, and he respects him and how they’re so productive. Then he started talking about their arguments. Somebody in the audience asked what they fought about and he said, “We have very different feelings about the semicolon.” Everybody erupted into laughs and it just hit me like a bolt of lightning. I thought, “This is the movie, this is the story.”
I wanted a story that had forward momentum and had something big at stake. A film about two men in their 60s who had done a lot of great stuff is not that interesting. But a film about two men who are hovering around 90 and are still in it, and engaged in their work, who have a dedication and passion and are in a race against time to finish their life’s work, felt really, really compelling to me.
People say, “Are you sure you should be wasting [Caro’s] time with a movie? He needs to be writing.” My producer Jen Small said we should put on the poster, “No Lyndon Johnson books were harmed in the making of this film.”
Do you think you had a perspective that made you the best person to try and talk about their relationship and document it, or was it challenging to make the leap of them being willing to open up to you?
There was definitely a pursuit of them. I called my father and I was like, “I have the best idea ever. I’m going to make a film about you and Robert Caro.” He said, “No way. Absolutely not. Never. It would not be good for our relationship.”
I just kept pestering and pestering and pestering him. Finally, he said I could call Bob Caro but he would say no and of course Bob Caro did initially say no. Then he said that he’d seen another film of mine and I could come and speak to him. Eventually, Caro said, “I’ve never seen a film about a writer and an editor, and I think this could be meaningful. I don’t think anyone’s ever seen this before.” So he let me start, but he had this kind of hilarious condition, which was that he didn’t want to ever appear in the same room as my father. That seemed funny and a little maddening and sort of endearing. It also seemed like an irresistible challenge to try to make a buddy film where they don’t appear in the same room as each other. A woman came to a screening recently and she said, “It’s a love story, and they don’t get together until the last scene.”
They both say that somehow the making of this movie has brought them closer together and that they have developed a real friendship after 50 years. Maybe just having to articulate what their relationship has meant to each other has made them appreciate it more.
What was it like to grow up in your household, with your father as this major editor and your mother (actress Maria Tucci) on Broadway?
I grew up in a really incredible household. My mother’s an actress, my father’s a publisher and editor. Our house was this kind of vibrant, boisterous household that was always filled with eccentric, incredible people — actors and writers. My dad’s writers would come for dinner and then my mother would go off and do a play on Broadway and then come back at midnight and make another dinner. It was incredible. So I feel that both of their work was kind of integrated into our life and into our family. All of his writers were really like family members, except for Bob Caro, who never came over and who I never met. I think that there’s something particular and peculiar about their relationship that they needed to stay apart and only come together over work. I guess that was something that intrigued me and that’s part of why I wanted to make the movie.
“Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” (Courtesy Tribeca Film Festival)
The Jewishness in the film is a bit more implicit, though you discuss it when talking about their upbringings. How do you think their Jewish identities have impacted their work?
I don’t want to presume to speak for either of them about their Jewishness. I know they both very strongly identify as New York Jews, which probably means something slightly different to each of them, but I think it’s essential to their definitions of themselves. Their humor may be particularly Jewish as well. David Remnick uses a word at the end of the movie, where he says Caro needs to have “sitzfleisch” in order to finish the book. It’s this Yiddish [and German] word that means the ability to sit for long, long periods of time and apply yourself to something. I think that that is something that these two guys have: It’s almost a Talmudic focus on their craft, and without that they wouldn’t be who they are. So to the extent that that’s a Jewish quality, I think that’s essential to their being, to their achievements. There’s something like a Talmudic scholar in going over all these things, the industriousness and the empathy as well, this sort of looking at a thing from all sides and dedicating yourself to this pursuit.
Bonus question: You briefly show the various eccentric collections your dad has, including plastic handbags and kitschy Israeli record albums from the ’60s and ’70s. What is that about?
Yes, he has a lot of collections. He also has a collection of macramé owls. There are many that are not in the movie. Maybe that’s a Talmudic thing as well, like a deep dive into whatever it is that is interesting to him. He says that every subject gets more interesting the deeper you get into it. When something strikes him as charming or funny or curious, he goes all the way with it. My mother doesn’t love them. There’s a little bit of a power struggle there, but he wins. You grow up with something and you don’t really think about it. But I knew I had to find a way to put this in the movie. People kept saying it’s irrelevant, it’s to the side, but I knew I had to because it’s so weird and says so much about him.
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Jewish witchcraft isn’t as weird as it sounds
Madonna, incongruously, may be largely responsible for introducing the public to a mystical, magical image of Judaism — one that went beyond old men bent over books, studying laws for keeping kosher or Shabbat. Her red string bracelet and her studies of kabbalah gave the religion a new air of mystery and occultism.
But Judaism has always been full of mystical, magical traditions. Jews made amulets to protect against the evil eye, or for luck and prosperity. They beseeched and pacified the dead. Rabbis wrote protective charms for their flock. Psychics and palm readers told the fortunes of Jews and non-Jews alike.
A new exhibit, “Jews are Magic: Occult Practices from Palmistry to Psychics” from YIVO and the Center for Jewish History, delves into the history of the occult in Ashkenazi Judaism. The display, which pulls from YIVO’s archives, has examples of occultism drawing from two Jewish communities: the shtetl and the city.
One side of the exhibit showcases letters to great rabbis asking for blessings and remedies, as well as written spells and amulets protecting against demons like Lilith. The other features photos and biographies of professional Jewish clairvoyants and fortune tellers, who worked mostly in urban areas serving both Jews and gentiles with seances, palmistry and the like, advertising in newspapers and performing on stages.
It’s a lot to cover, and it’s complicated not only by the history but by a quote from Deuteronomy, highlighted in the exhibit. It explicitly forbids those who “useth divination” as well as those who are an “enchanter, or a witch, or a charmer, or a consulter with familiar spirits, or a wizard or a necromancer.” It is a comprehensive list, and doesn’t mince words, calling all of these magicians “an abomination.” Yet even great rabbis and Talmudists wrote charms. How could magic be so pervasive in Judaism when it is so expressly prohibited?
This is the fundamental question of the exhibit, but the show is small and has limited space to fully examine the contradictions. Its artifacts span so much time that it is difficult to intuit the connections between, say, Terfren Laila — a traveling psychic born Else Terese Frenkel who wore a ruby-adorned turban and pretended to be from Singapore by way of India (despite her Yiddish accent) — and letters asking a Talmud scholar to heal a loved one.
Thankfully, to open the exhibition, YIVO held a panel discussion between two scholars, Rokhl Kafrissen, an expert in Ashkenazi women’s folk magic, and Samuel Glauber, whose expertise is Jewish occultism in the late 1800s and early 1900s. Moderated by YIVO’s Eddy Portnoy, the panelists discussed the ways that superstitions arose in shtetls and were mined by those looking to make a few shekels.
Kafrissen explained that magic was a normal part of Jewish life for centuries, largely practiced by women; their domain was the home, encompassing everything from health to wealth, including charms and remedies. And just because these women’s rituals weren’t a “normative” part of Judaism — which is to say, institutional or recorded by official religious texts — they were certainly a normal part of life. Women led rituals such as cemetery measuring, a practice in which string was used to encircle the graveyard while praying and later used to make “soul candles” for Yom Kippur, and removed the evil eye from anyone concerned they had been cursed — what Kafrissen called “everyday Ashkenazi magic.”
But over time, these rituals — long central to Ashkenazi life — were pushed out as some Jewish leaders hoped to modernize their religion. Science rose to take the place of folk magic, and people began to dismiss these practices, which were rarely written down, as mere superstition.
This sense that Judaism was full of magic, however, fed easily into Christian suspicions about Jewish witchcraft, and perhaps encouraged some of the urban psychics and spiritualists to lean on Judaism to increase their mystery.
Glauber’s research focuses on this latter, urban category, a far cry from the shtetl folk magic. These Jewish men and women took part in a craze that enraptured far more than just Jews — seances and fortune-telling were trendy throughout the Victorian era and beyond, and its Jewish performers did not only serve Jews. (Though those suspected to be Jewish were covered hungrily by the Jewish press.) They worked magic on stage and sold their services to eager consumers hoping to speak to the dead or know the future.
Some of these performers tried to hide their Judaism, like the turban-wearing Laila, who managed to become famous enough to tell the fortunes of celebrity clients in Los Angeles and London. Another was trusted by Stalin.
Others, such as Abraham Hochman, were open about their Judaism; Hochman helped the Jewish immigrant community in New York by using his supposed psychic abilities to help women who had arrived in the city find runaway husbands. (The problem was so pervasive that the Forverts had a “Gallery of Missing Husbands” column to do the same.) One branded himself a mystical rabbi, leaning into Judaism’s mystique, which led to an audience, Glauber said, made up mostly of Christian barmaids.
Much of this information discussed by Glauber and Kafrissen is not included in the exhibit, which largely consists of fragments of papers from YIVO’s archives. The end of their discussion touched briefly on yet another rich source of magic: modern Hasidism. But neither the discussion nor exhibit had space to expand on this topic, making it hard to find the throughline between demon-warding amulets and today’s Judaism.
Still, no exhibit or discussion can capture the subject in its entirety. What “Jews are Magic” does best is spark curiosity, and a desire to learn more. That, in itself, is a kind of Jewish magic.
The exhibit ‘Jews are Magic’ is on display from May 26 to Dec. 31 2026 at the YIVO Institute for Jewish Research in the Center for Jewish History in New York City.
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Staunch Israel critic and Gaza trauma surgeon Adam Hamawy wins NJ-12 primary
(JTA) — Adam Hamawy, the staunch Israel critic who served as a trauma surgeon in Gaza, is expected to join Congress after winning the Democratic primary in New Jersey’s 12th district on Tuesday.
The political novice held a 12-point margin ahead of second-place candidate Brad Cohen with 86% of the vote in, even as he faced questions over his past ties to Omar Abdel-Rahman, the “Blind Sheikh” convicted on terrorism charges in 1995. Hamawy’s camp had called the questions “gross and bigoted” and said the attacks against him were “getting more desperate than ever.”
At a time when Israel is becoming increasingly unpopular among Democratic voters, Hamawy’s victory makes him the latest in a string of vocally pro-Palestinian progressives to win Democratic elections in blue districts in this year’s midterms, following fellow New Jersey candidate Analilia Mejia and Chris Rabb in Pennsylvania.
“The Democratic establishment just got a wake-up call!” wrote PAL PAC, a pro-Palestinian group that had endorsed Hamawy, on X. “This victory proves what we have known all along: Standing firmly and unapologetically for Palestinian freedom is a WINNING platform.”
Hamawy, who is credited with having saved Sen. Tammy Duckworth’s life during the Iraq War, was also boosted by $2 million in spending by American Priorities, a super PAC that aims to counterweight the pro-Israel lobbying group AIPAC by installing pro-Palestinian progressives in Congress. He was endorsed by a slew of left-wing politicians and campaigned alongside the streamer Hasan Piker, who’s been accused of antisemitic rhetoric. He is set to succeed Rep. Bonnie Watson Coleman, who is retiring at the end of her term.
As an opponent of Israel’s Iron Dome missile defense system and a supporter of a complete arms embargo and the right of return for Palestinian refugees, Hamawy will become one of Congress’ sharpest Israel critics if he wins November’s general election, which he is expected to do in the deep-blue district.
Hamawy said that he finds antisemitism “abhorrent” and that he is “deeply worried about its continued rise” in a statement to the Jewish Telegraphic Agency last week.
“As a Muslim, I understand what it feels like to face bigotry, to feel unsafe in your community and to have your loyalty to this country questioned,” Hamawy said. “In this country, we have seen recent attacks at both synagogues and mosques. I see our safety as intertwined.”
Asked about Jewish constituents who disagree with his stance on Israel, Hamawy told JTA, “I hope we can still connect on shared values and goals, including peace, justice, safety and dignity.” He added that his door “will always be open.”
Ken Martin, chair of the Democratic National Committee, did not mention Hamawy’s pro-Palestinian advocacy in a statement congratulating him on his win.
“As a veteran, combat surgeon, and small business owner, Adam Hamawy has continually served his community and our country. He is a proven fighter for working families,” Martin said. “We look forward to welcoming him to Congress, where he will continue the fight to lower costs, expand access to healthcare, and make life more affordable for New Jersey families.”
This article originally appeared on JTA.org.
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Scott Wiener wins spot in general election for San Francisco House seat as a Jewish critic of Israel
California State Sen. Scott Wiener advanced Tuesday as the frontrunner to succeed former House Speaker Nancy Pelosi in Congress, in a contest closely watched in Jewish politics after Wiener called Israel’s actions in the Gaza War a genocide and called for a halt to arms sales to Israel.
Wiener, a 55-year-old progressive Democrat who is Jewish, advanced with the most votes, with 42% of the ballots with about half counted as of Wednesday morning in California’s top-two primary for the deep-blue San Francisco district Pelosi has represented for nearly four decades. In November’s general election he will face the runner-up Democrat, San Francisco Supervisor Connie Chan, who is backed by Pelosi.
In his victory speech, Wiener promised to fight the Trump administration’s “disaster of a regime” that has “commandeered this country, that is tearing down our democracy and the rule of law, that is getting us into disastrous wars.”
“I’m polite but not quiet,” he added. “I’m not going to wait my turn.”
Wiener’s possible arrival in Congress comes amid a broader reshaping of Jewish Democratic politics, as a more progressive and younger generation of Jewish candidates increasingly embraces a more critical approach toward Israel.
The Israeli-Palestinian conflict became a key issue that defined his congressional campaign. In an interview with the Forward last year, after announcing his bid, Wiener said his approach reflects that of the “large majority of Democrats in Congress” who don’t want to sever ties with Israel but are critical of the policies of the right-wing government.
Wiener’s declaration in January accusing Israel of genocide caused an uproar among Jewish leaders and voters nationally and prompted his resignation as co-chair of the California Jewish Caucus.
For years, I’ve condemned Netanyahu and his extremist government and the devastation they’ve inflicted on Gaza. It’s why I’ve been clear I won’t support U.S. funding for the destruction of Palestinian communities. I’ve stopped short of calling it genocide, but I can’t anymore. pic.twitter.com/71nIt6K527
— Senator Scott Wiener (@Scott_Wiener) January 11, 2026
Wiener had already positioned himself as a progressive on Israel. He was an early supporter of a bilateral ceasefire, called the war “indefensible” and said he would back congressional measures to halt the sale of offensive weapons to Israel. But his declaration of genocide came under duress, after he faced widespread backlash from progressive voters when he refused during a candidate debate to say whether or not he believed Israel was committing genocide.
The episode reflected both the political pressures facing Jewish members of Congress and the changing landscape of Democratic leadership.
Wiener is running in the company of Massachusetts Rep. Seth Moulton, who is challenging incumbent Sen. Ed Markey in Massachusetts; Brad Lander, running against Rep. Dan Goldman in New York; and Daniel Biss, the Democratic nominee for the Illinois seat represented by retiring Rep. Jan Schakowsky, all of whom promised not to take contributions from the Israeli government-allied American Israel Public Affairs Committee.
These Jewish candidates remain supportive of Israel’s existence and reject efforts to isolate the Jewish state. But they are now more willing to embrace language that would have been politically unthinkable for mainstream Jewish elected officials just a decade ago, when figures such as retiring congressman Jerry Nadler and the late Reps. Nita Lowey and Eliot Engel, all of New York, were the faces of progressive Jewish politics. Pelosi, who often spoke of her pride in her Jewish grandchildren and her father’s early support for Israel’s founding, led a generation of Democrats for whom unwavering pro-Israel support was a given.
Wiener’s election would signal the start of a new era. Notably absent from Wiener’s remarks on Tuesday were references to Israel, antisemitism or his Jewish identity.
Other California races
Other high-profile California races saw progressive candidates outside the bubble as centrist and conservative candidates advanced in open primaries where the top two vote-getters advance to the general election.
In Los Angeles, with about half of votes counted, Republican ex-reality TV star Spencer Pratt (29.5% of the vote) appears poised to advance to the general election, along with incumbent Democratic Mayor Karen Bass (36.5%). Nithya Raman — a democratic socialist who once won a pro-Israel endorsement — lags well behind them with about half the votes counted. Billionaire Democrat (and former synagogue president) Adam Miller was a distant fourth, with 4% of the vote.
And with a slew of Democrats splitting votes in the governor’s race, Republican talk show host Steve Hilton led all candidates with 27% of the vote, closely trailed by Xavier Becerra (26%), who was the health and human services secretary under President Joe Biden. Billionaire progressive Tom Steyer had just under 20% of the vote with about half of the votes counted.
Rep. Brad Sherman of Los Angeles will advance to the general election, staving off a challenge from fellow Democrat Jake Levine, a former Biden administration official.
Rep. Ro Khanna had 57% of the vote in his Silicon Valley district, meaning he will most likely win the office without a runoff. Khanna is one of the most outspoken critics of Israel in Congress.
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