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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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Musée d’Orsay Opens Permanent Exhibition Space Dedicated to Nazi-Looted Artwork
Inside the Musée d’Orsay. Photo: ZUMA Press Wire via Reuters Connect
The Musée d’Orsay in France opened a new permanent exhibition room on Tuesday dedicated to works of art that were owned by Jews and looted by the Nazis across Europe during World War II before being returned to France after the war.
The new gallery room is titled “To whom do these works belong?” and will feature rotating installations of works of art recovered after World War II also known as Musées Nationaux Récupération (National Museums Recovery) pieces. Provenance investigators and researchers are still working to identify the original owners of these MNR artworks.
“Over time, the room is intended to evolve to present to the public the discoveries resulting from this research, some of which could allow new restitutions,” said the museum. “It thus constitutes a space of memory, transparency and active research, at the heart of contemporary issues related to the history of the collections.”
Now on display in the exhibition is 13 works, including the 1879 painting “Dinner at the Ball” by Edgar Degas, according to The Times. The painting was previously owned by Fernand Ochsé, a Jewish merchant and art collector living in France who was murdered in the Auschwitz concentration camp during the Holocaust along with his wife. The painting was among thousands of artworks stolen by the Nazis or forcibly sold to Nazi occupiers in France. Also on display in the exhibit is Pierre-Auguste Renoir’s portrait “Madame Alphonse Daudet” from 1876.
The new gallery room and research done by provenance investigators is being funded with support from the nonprofit organization American Friends of Musées d’Orsay et de l’Orangerie (AFMO). According to the organization, 60,000 artworks looted by the Nazis during World War II around Europe were returned to France by 1950 and 224 of those recovered artworks are housed at the museum and in need of further provenance research to find their original owners. Fifteen MNRs kept at the Musée d’Orsay have already been returned to its rightful owners.
Over the next few years, AFMO will fund a team of art historians and researchers, led by provenance expert Dr. Ines Rotermund-Reynard, and they will focus on finding the owners of the 224 recovered artworks in the Musée d’Orsay’s collections, but also approximately 200 additional pieces acquired by the museum after 1933.
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California Man Pleads Guilty to Killing Jewish Pro-Israel Protester; Judge Weighs Light Sentence
Chalk drawer Elena Colombo of the Hamakom Synagogue draws a blue star around blood at the exact location on the sidewalk where Paul Kessler was attacked in Thousand Oaks, California, US, Nov. 7, 2023. Photo: Mike Blake via Reuters Connect
Prosecutors in Ventura County, California have obtained a felony conviction against a community college professor who caused the death of an elderly Jewish man he struck in the face with a megaphone during a heated argument which started at the interstice of dueling demonstrations over the Israel-Hamas war.
Loay Alnaji, 54, on Tuesday pleaded guilty to involuntary manslaughter and battery causing serious injury, along with a special allegation and aggravating factor that he personally used a weapon to strike pro-Israel protester, 69, according to the Ventura County District Attorney’s Office.
The killing occurred in November 2023, when pro- and anti-Israel protesters confronted each other in the city of Thousand Oaks, in the early days of the Gaza war. Prosecutors said Alnaji hit Kessler in the head with a megaphone. Kessler fell to the ground, hit his head on the pavement, and died the next day.
However, even though the charges carry a maximum of four years in prison, Alnaji faces a much lighter sentence when he appears in court on June 25 for his sentencing. Ventura County Superior Court Judge Derek Malan, who is presiding over the case, has promised to honor an agreement to limit his sentence to three years of “formal probation” and “up to” one year in jail for a guilty plea.
Following the proceedings, the Ventura County District Attorney’s office said that so light a punishment, reportedly negotiated directly between Alnaji and Malan ahead of Tuesday’s hearing, is contrary to the preferences of the prosecutorial team which fought to hold him fully accountable for the weight of the crime.
“Alnaji should be sentenced to prison for his violent behavior, and our office strongly objects to any lesser sentence,” district attorney Erik Nasarenko said. “While no amount of punishment will ever fully account for the Kessler family loss, a prison commitment underscores the severity of this crime and will deter others from committing similar acts of violence.”
As previously reported by The Algemeiner, Kessler sustained two impacts — the blow to his head and a second from the concrete to which he fell after being knocked down. Given the charged political climate in which the killing occurred, law enforcement officials hesitated for days to pronounce that the matter would lead to criminal charges, citing conflicting witness accounts of the altercation. At one point, Alnaji’s only interaction with the Ventura County Police Department was a traffic stop initiated while officers conducted a search of his home.
Ultimately, 10 days passed before police officers arrested him on the charges to which he pled guilty on Tuesday — and he almost evaded those when Judge Ryan Wright, the first judge presiding over the case, ruled that there was insufficient evidence to hold a trial.
Since being assigned to the Kessler case in March following the death of its former presiding judge, Malan has avoided relating Alnaji’s actions to rising antisemitic hatred in the US, downgrading the deadly encounter to a disagreement between “two old guys.”
Doing so miscarries justice, the leader of a Jewish civil rights organization told The Algemeiner on Wednesday, stressing the importance of the justice system’s responding to antisemitic violence and hate crimes with a meaningful deterrent.
“The outrageously lenient plea deal offered to Loay Alnaji is a devastating failure of justice that minimizes the death of 69-year-old Jewish man Paul Kessler and sends a chilling message about how seriously antisemitic violence,” said Liora Rez, executive director and founder of StopAntisemitism. “By intervening against the district attorney’s recommendation and dismissing this killing as merely ‘two old guys’ having a dispute, Judge Derek Malan ignored both the deadly consequences of Alnaji’s actions and the disturbing reality that someone promoting pro-Hamas propaganda helped fuel the environment that led to Kessler’s death.”
Follow Dion J. Pierre @DionJPierre.
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Israel Prepares for Possible Return to War in Gaza as Ceasefire Talks Stall, Hamas Rejects Disarmament
Israeli soldier on guard in Gaza, February 2026. Photo: Jonathan Sacerdoti / The Algemeiner
As the Palestinian terrorist group Hamas continues to reject disarmament and further stalls progress on the US-backed Gaza ceasefire deal, Israeli officials are weighing contingency plans for a renewed military campaign should negotiations collapse entirely.
According to multiple media reports, the Israel Defense Forces believes the current negotiations are unlikely to result in either Hamas’s disarmament or the full demilitarization of the Gaza Strip, warning that the terrorist group is exploiting the diplomatic pause to rebuild its capabilities, consolidate control, and further entrench its governance in Gaza.
“Hamas is deliberately dragging its feet. It is exploiting attention on Iran and Lebanon and, in the meantime, is entrenching itself in the Gaza Strip — reasserting control over the territory, establishing governance structures, and rebuilding its military capabilities,” a military source told the Israeli news outlet Walla.
“As things stand, there are two possibilities: a US declaration that the negotiations have reached a deadlock and a return to fighting, or Washington pushing a partial, ‘perforated’ agreement on Israel that would significantly undermine our security interests and erode the operational gains achieved so far,” he continued.
As regional tensions continue to mount, Maj. Gen. Yaniv, commander of the IDF Southern Command, on Wednesday presented Israel’s political leadership with a new operational plan pushing the military to brace for a potential return to combat and initiate a wide-ranging reassessment of its ground maneuver strategy and operational approach.
For months now, the US-led Board of Peace has been conducting parallel negotiations with Israel and Hamas, attempting to tie the large-scale reconstruction of the war-torn enclave to the complete dismantling of the terror group’s weapons arsenal.
However, after continued failed attempts to reach an agreement, the Board of Peace will not hold Israel to the terms of last year’s ceasefire any longer if Hamas again rejects the proposed disarmament framework, according to a document obtained by The Times of Israel.
The board’s High Representative for Gaza Nickolay Mladenov has previously warned that Hamas’s refusal to disarm could trigger a resumption of the war. But now, the official is reportedly signaling that Israel would not be expected to halt military operations or guarantee humanitarian access to Gaza if the ceasefire framework collapses.
Hamas has consistently refused to relinquish its weapons, insisting that Israel must first fully comply with phase one of the ceasefire — including expanded humanitarian aid deliveries, full reopening of the Rafah crossing, and withdrawal of Israeli forces to the agreed Yellow Line — before any disarmament process can proceed.
For its part, Israel has warned that the Islamist group must fully disarm for the second phase of the ceasefire to move forward, pointing to tens of thousands of rifles and an active network of underground tunnels still under the terrorist group’s control.
If Hamas does not give up its weapons, Israeli officials have vowed not to withdraw troops from Gaza any further or approve any rebuilding efforts, effectively stalling the ceasefire agreement.
Under the ceasefire, the Israeli military currently controls over 50 percent of Gaza, while Hamas remains entrenched in the nearly half of Gazan territory it still controls, where the vast majority of the population lives.
In its latest counterproposal, the terrorist group said that any transfer of its weapons would only be possible as part of a wider process leading to the establishment of a Palestinian state.
As the second phase of the Gaza ceasefire agreement remains stalled, Israeli officials have warned that Hamas is quietly exploiting the pause in fighting to tighten its control over civilian life while simultaneously rebuilding its military capabilities behind the scenes.
Last month, local elections saw the Palestinian Authority (PA) record notable gains, with results appearing strong on the surface. However, experts warn the outcome actually reinforced Hamas’s political theater, projecting an image of shifting authority while the group effectively maintains its control on the ground.
According to a report by Israel’s Channel 14, although newly elected municipal figures are formally affiliated with Fatah, the party of PA President Mahmoud Abbas, the presence of Hamas-linked representatives still signals the group’s continued political penetration at the local level.
Beyond official political appointments, Hamas-linked personnel are widely believed to remain embedded within municipal administrative structures, enabling the group to maintain effective control over day-to-day governance away from public view.
At the same time, through checkpoints, strict regulation of goods, and control over key public institutions, including hospitals, the Palestinian terrorist group has been quietly reestablishing its civilian governance structures across the war-torn enclave, with its authority still visibly enforced on the ground.
Hamas has also been reactivating internal security mechanisms to enforce day-to-day order, while conducting extensive intelligence operations aimed at identifying alleged collaborators with Israel and suppressing any opposition.
In an effort to reassert control and shore up its weakened position, the group has launched a violent internal campaign against armed militias and local gangs, targeting those it labels “lawbreakers and collaborators,” with the crackdown escalating into widespread clashes and violence as Hamas members move to seize weapons and eliminate remaining pockets of resistance.
Even after more than two years of war, the group is also rebuilding its military capabilities, including recruiting new operatives, conducting field and command-level training, restoring intelligence and surveillance networks, and reconstructing underground tunnel systems and weapons stockpiles.