Features
Berdina Shorten: Her long and circuitous journey to returning to her Jewish roots
By BERNIE BELLAN Berdina Shorten has lived in Winnipeg since coming here with her family from the Netherlands in 1953. Although Berdina was Jewish by ancestry (going back to her great-grandmother), she hadn’t been raised Jewish. It was only several years after having come to Canada – and having got married, that Berdina – and her late husband, Ken Shorten, both converted to Judaism.
Typically, the stories we publish in this paper about people’s wartime experiences have to do with the Holocaust. Those stories are all certainly horrendous – and almost always riveting, but when I happened to be talking to Berdina about a totally unrelated subject (the renewal of her subscription) and the conversation got around to her wartime experiences, I said to her that I wanted to write about her story.
I should also mention that I had heard Berdina speak at the Shaarey Zedek several years ago, but at that time I didn’t take any notes. (I can’t recall exactly why I was there or how I happened to be in the room when Berdina told her story, but I remember thinking that this would make a great story for the paper some day.)
In any event, here’s a recounting of the first part of Berdina’s story, based on a phone interview that I conducted with her on February .
First, a little history is needed, in order to understand the context for what happened to Berdina and her family.
The German army had invaded Poland in September 1939. After consolidating its gains there, Germany turned its attention to Western Europe in April 1940, first by invading Norway and Denmark, then launching an attack through Belgium into that country, also the Netherlands and Luxembourg (despite those three countries having adopted positions of neutrality).
The German invasion of The Netherlands began on May 10, 1943.
That is where Berdina’s story picks up. But first, a little background on her family history.
Berdina’s father, Theodore (or Theo, as he was known) was a master leather cutter. His “family was Protestant, but his mother was Catholic, so he was raised Catholic,” she said.
As Berdina explained, “his family had come from France in 1610. He used to say the reason his family didn’t go to the New World was ‘no pretty cruise directors, no first class cabins, no air conditioning.’ The real reason was they were Huguenots and they weren’t allowed to go to the New World – unless they went to England and went with the Protestants,” e.g., the Pilgrims on the Mayflower.)
Berdina’s mother (Anna), however, “was born Jewish” but, as Berdina noted, “the family never practiced Judaism. What happened was her mother was born Jewish to a Dutch girl and a German Rhine skipper. Her father died when she was four years old, so her mother went back to Holland, but her family wouldn’t accept her back because she had married someone who was not Jewish. She raised her child (Berdina’s grandmother) with the help of local charities and working in a grocery store.
“When she met my great-grandfather, he was more Catholic than the Pope, so she never practiced her religion and she raised her children as Catholic – but they were actually Jewish – by Jewish law.
“It wasn’t until I was 12 – and I had been sent to Catholic school. I was always challenging the nuns. I wanted to check out Judaism, but I wasn’t allowed.
I asked Berdina whether “she had an awareness that she was Jewish?”
She said she did. “I always knew. My mother knew also, but they hid it.”
I asked then how she knew about her Jewish heritage?
She answered: “My relatives. I heard conversations when I was a child.”
While, Her mother “didn’t practice any religion, her “father did. He’d go to Mass once in a while,” Berdina noted.
When the Germans invaded the Netherlands, Berdina’s father was in the Dutch army, fighting on the “Grebenberg (or the Grebbe line, the main line of Dutch defence)– where they held the Germans back for many days.” (Actually, it wasn’t many days at all – only three. The Dutch were badly equipped and totally outmaneuvered by the Germans.)
Berdina continued her story: “My father was a fantastic shot…But the Queen (Wilhelmina) capitulated. They were bombing the hell out of Rotterdam (May 14, 1940).” The Netherlands surrendered the next day.
Berdina’s father was taken prisoner and sent to work as a forced labourer (in Germany): “So my father was taken and put into a factory. He was a master leather cutter – making shoes.”
Berdina’s family lived very close to the German border with the Netherlands. Thus, even though Theo was forced to work in Germany, it was only a three-hour walk for him to return to his hometown – and his family. It seems somewhat strange to think of someone who’s kept as a forced labourer – which Berdina described as “slave labour”, yet who was allowed to return home on weekends, as she explained:
He was allowed to go home (where mother lived) once a week, Berdina said. “He was given one egg a week, so he would take that egg with him, so my brother (Corey, who was born four years before Berdina) would be able to have at least a little bit of protein in his diet.”
All the while Theodore though, was part of the Dutch underground– meeting with other members of the underground surreptitiously while he was in forced labour for the Germans.
Berdina told this story about one harrowing brush with danger her father had while he was in the resistance: “A story he told was that he was going to a meeting (of the underground) with a friend. They were caught by a young German soldier and the soldier” pointed his rifle at them and “told them to put their hands up. Somehow my father was able to overtake this young soldier.
“His friend said ‘We have to run.’ My father said, ‘No, we can’t. If we run and they find him (the soldier), they’ll kill ten people on this street.“ (That was the retribution the Germans typically exacted, Berdina explained.)
“So my father was able to get a hold of some liquor, put it over the kid’s mouth, then took his guns and papers to the nearest police station, which was controlled by the Germans, and said: ‘One of your soldiers was drunk and we took his guns and papers before he hurt someone.’
“My father was given a pass to go anywhere he wanted that night.”
I asked Berdina if she knew when it was that her father fled the factory for good and ended up going totally “underground” with the Dutch Resistance, but she said she didn’t know exactly when that happened.
When the Canadian army reached Holland in September 1944, anyone who had been in the Dutch army was able to join the Canadian army, Berdina explained, so her father ended up joining the Canadian army.
“When the Dutch army reorganized, he went back to the Dutch army.”
Her father was uncomfortable talking about what he did during the war, Berdina noted, but according to her brother, Theo had once told him that he “had killed at least one German that he knew of (a sniper) and probably more, but he wasn’t sure.”
I asked Berdina whether there were any other memories from the war that she wanted to talk about.
She said there was a young girl – only 14, in her town, “who was the first girl (in Berdina’s home town) to get pregnant by a German soldier.”(That soldier died in a plane crash coming back from North Africa, Berdina added.) “She was also the first girl to get pregnant by a Canadian soldier.
“After the war the people in that community were going to get her and shave her head and send her packing.
“My mother said to my father: ‘That little girl is still only 15 years old. She’s still walking around in Bobby socks and skipping with a skipping rope. Theo (Berdina’s father), could you please do something to stop those people from hurting her?’
“My father went out on to the street and he saw about 50 people coming for the girl. He stopped them.”
In 1953, Berdina, along with her parents and three brothers (two of whom were born after the end of the Second World War), came to Canada.
“My father started to work as leather cutter in the Canada West shoe factory,” Berdina explained.
“Maitland Steinkopf hired him. Eventually my father started to work in St. Boniface Hospital; he’d had a year’s medical training in Edinborough after the war – so he started to work in the hospital, in the x-ray department.
“He worked four hours a night doing piece work for Maitland. He made more money doing that than he did in the hospital.”
I was curious to know more about Maitland Steinkopf and his connection to the shoe business. I knew that Steinkopf was a very successful businessman who also played a leading role in the development of the Centennial Concert Hall, as well as being a prominent Conservative politician and cabinet minister, but other than that I didn’t know much about him.
Berdina said to me that Steinkopf’s success in the shoe manufacturing business was a result of his decision to go to Minneapolis at one point and come back with the Canadian rights to a line of shoes called “Hush Puppies”. That reminded me of another famous decision made by a local Jewish businessman – Samuel Cohen, who decided to begin importing transistor radios made by a company called Sony.
Turning to Berdina’s decision to become Jewish, here is how she explained how that came about:
“My late husband, Ken Shorten (whom I incorrectly referred to as Frank in my previous article), came from an Irish family – that originally came to Canada in 1690, and they farmed in the McCreary area.
“He worked in Eatons – and I worked in Eatons as well. That’s where I met him and we got married.
“Well, he was Protestant and I had been raised in a Catholic environment. We decided that we weren’t going to let the difference in our faiths have a negative effect on us, so we just stuck to ourselves when it came to the religious part.
“But that didn’t work for me and it didn’t work for him and I always knew about my Jewish heritage, so I said to him one day: ‘You know, I’d like to learn more about Judaism; it’s part of my heritage.’ And he said: ‘Me, too.’
“He had some very good Jewish friends at the time (who were all in the NDP). One of them was Cy Gonick, another was Harry Shafransky. He got to know quite a few Jewish politicians. He liked their ethics, liked their values, and so we started to look into Judaism.
“We went to see Rabbi Nesis and (the late) Rabbi Berkal, and we studied with them for two years, and then made the conversion.”
Interestingly, Berdina said that she also spoke with (the late) Rabbi Weizman, who told her that “You can’t convert – you’re already Jewish”.
“But, I said to him, ‘It’s my decision. It’s my journey. I want to do the process.’
“We had two children that we had adopted before we decided to convert – and we brought them in with us.”
I asked when this all happened?
Berdina said the conversion process went from 1973-75.
“We were officially converted in May of ’75,” she said, “and then we were married in the rabbi’s office again.”
“I sang in the Shaarey Zedek choir for 36 years,” Berdina added, “and my son, Theodore, sang in the choir for 20 years…and both kids had their bar and bat mitzvah together.”
“It was the best decision I ever made in my life,” Berdina observed. “It completed me as a human being. I finally fit – because I used to question those nuns. I must have been a real pain in the tuch.”
I asked, “Do you have relatives remaining in Holland?”
Berdina answered: “Yes, I have many.”
I asked, “Are any of them Jewish?”
She answered, “I have one cousin who recognizes himself as Jewish – and that’s it.”
I said to Berdina that what she had told me about her Jewish ancestry and her family’s subsequent conversion to Christianity, it jives with what I had read about how commonplace it was for Jews to have become Christians. I said that I recalled hearing from the late Rabbi Rappaport that only about one-quarter of all Jews in Europe remained Jewish through the years. The rest either converted willingly or by force.
During the course of our conversation, Berdina told me many more stories about her wartime experiences in the Netherlands, all of which were fascinating. Since she was only two years old by war’s end, naturally the stories she tells are one that have been recounted to her by others, but they are all worth retelling.
One that stood out for me in particular was about a Jewish doctor who was kept hidden by his Dutch housekeeper, unbeknownst to anyone else in the town. According to Berdina, when German soldiers came to the house looking for the doctor in 1940, the housekeeper said to them: “I kicked him out long ago when I knew you would be coming. He was miserable to work for and he never paid me enough.”
All through the war that housekeeper was ostracized by her fellow townspeople, as the doctor was universally loved. As Berdina told it, when the town was liberated by Canadian soldiers in 1944, the doctor emerged from the basement – where he had been kept hidden the entire period of occupation by the housekeeper.
Berdina is a great storyteller and when I asked her whether she’d be willing to tell her story to other audiences – as I had heard her do several years ago at the Shaarey Zedek, she readily agreed. If a day comes when Berdina will be able to tell her story to a new audience, I’ll be sure to post something in this paper.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.