Features
Was a Nazi war criminal living in St. James forced to hang himself by a Jewish “avenger” in 1960?
By BERNIE BELLAN The story of an alleged Nazi war criminal by the name of Alexander Laak, who was found hanging in his St. James garage in 1960, is one that has been revisited in this newspaper several times.
In October 1987, the late Gene Telpner first broached the story in our pages in one of his columns, when he wrote the following:
Quite a few columns ago I wrote about a book called “Forged in Fury”, which detailed the hanging in Winnipeg of an alleged war criminal by one or more Israeli “agents”.
They apparently had flown here, carried out the execution, and then caught a plane out of the city the same day.
At the time, the Free Press story reported the man’s death as a suicide, and the name given in the item was not his real one. His real name was Alexander Laak, and the wartime actions in which he allegedly participated took place in Estonia, near Tallin.
At one time, Laak worked at the RCAF base in Winnipeg. When he came to Canada from Europe he had received “clearance” from the British and Americans, but apparently the Russians wanted him back for further investigation.
Now all of this original story was in 1960, and not until 1970, when the book Forged in Fury was published, did the details emerge. Those details came as a shock to Arthur Drache, son of Mr. and Mrs. Samuel Drache of this city, for several reasons.
For one, Arthur was a Free Press reporter when the “suicide” was printed and covered the story. Asked about it, Drache said, “We wrote a couple of stories “which received page one play, but did not give his name because of libel laws.”
But when Drache, who is now Arthur Drache Q.C. with the law firm of Drache Rotenberg in Ottawa, read “Forged in Fury”, he got full details for the first time. He wrote to the Free Press to tell them about the book’s revelations, but says he never got a response from the newspaper.
One of the saddest parts of the story to Drache is the fact that he and Laak’s son were classmates at Gordon Bell, and played on the school football team.
Laak was never publicly identified in Winnipeg while he was alive. It is believed that there had been accusations from some sources, but he protested his innocence.
Arthur Drache explained, “Only his ‘suicide’ allowed fuller disclosures and until I read “Forged in Fury” I was quite at a loss to explain his actions.”
Subsequently, in a February 20, 1991 issue of The Jewish Post & News, Myron Love had this story:
Manitoba RCMP looking into 30-year-old suicide of alleged Nazi
The Royal Canadian Mounted Police have re-opened an investigation into the apparent suicide 30 years ago of an alleged Estonian Nazi living in Winnipeg. The new investigation was requested by the provincial Attorney-General’s Department, following an article on the case last winter in the Winnipeg Free Press, and a subsequent letter by a member of the public to the attorney-general, asking that this possible murder be investigated, in light of the war crimes prosecutions taking place in the country.
Alexander Laak was found hanging in his garage on September 6, 1960, according to Sargent Wes Border of the RCMP’s General Investigation Section. The section is looking into the matter, after a series of newspaper reports from the Soviet Union, alleging Laak was a Nazi collaborator. The Winnipeg police investigated his death at the time.
A coroner’s inquest, headed by Dr. I.O. Fryer, then the province’s chief medical officer, ruled the death an apparent suicide, and the case was closed.
In the early 1970s, an author named Michael Elkin published a book called “Forged in Fury”, in which he described how an Israeli agent named Arnie Berg came to Winnipeg from South America, and gave Laak the choice of committing suicide or having him and his wife killed by Berg.
Last February, Winnipeg Free Press reporter Dave Roberts wrote a story on the case, with reference to Elkins’ report. (Roberts is unavailable for comment. He is currently in the Middle East.) The article also led to the attack on retired journalist Keith Rutherford by a couple of Skinheads in Alberta last year. The Skinheads claimed they were paying him back for exposing Laak. One claimed to be Laak’s son, but there is no record of any family. (Ed. note: Gene Telpner’s story does disclose that Laak had a son – also someone whom Arthur Drache knew, so the notion that Laak’s son may have been part of a group that attacked Rutherford is certainly plausible.)
Sgt. Border isn’t optimistic the GIS investigation will turn up anything. “Thirty years is a long time,” he says. “People are dead. Reports are no longer available to us.”
He reports contacts have been made with the war crimes investigation unit in Ottawa to check their information on Estonian war crimes, and with Israel to find out if Elkin’s book was fact or fiction. “We’re waiting to hear back to see if we should look into this more seriously,” he says. “With everything going on in the Middle East, and considering this is 30 years old, I don’t expect this matter will be pushed to the forefront. It’s a case that will not be easy to investigate.”
We’re playing catch-up.”
In the summer of 2014 I had written about a book titled “The Avengers”, which was about a group of Holocaust survivors led by Abba Kovner (who went on to become a famous Israeli poet). Subsequent to that book review I was reminded of the story of Alexander Laak, and I decided to try to find out whether there was anything more I could find out about the story – which apparently had reached a dead end.
I decided to attempt to contact Arthur Drache who, Gene Telpner had written, had actually covered the story of Alexander Laak’s “suicide” in 1960. Arthur Drache has been one of Canada’s best known tax attorneys for many years, has been the recipient of many awards. Several years ago Gerry Posner profiled Arthur Drache in an article for our paper titled , which can be found on our website at .
I called Arthur Drache in 2014 – and was surprised when he answered his phone himself. In any event, I recall that Mr. Drache was quite obliging – and had vivid memories of his own personal involvement in the Alexander Laak story. Here is what I wrote in August 2014:
As Gene Telpner mentions in his story, in 1960 Drache was working as a reporter for the Free Press. Drache told me, during a phone conversation, that he was a student at Brandeis University at the time.
Drache says that his assignment editor had received a tip that Laak was living in Winnipeg. According to Drache, it came from a Russian source. The Estonian community in Winnipeg was quite small at the time, Drache said, and it was an easy matter for him to track Laak down.
He told me that he and another reporter went to Laak’s house in St. James and spent some time speaking with him. According to Drache, Laak downplayed the role he had played in the Jägala camp in Estonia, describing his duties as akin to being “the warden of Stony Mountain”, in Drache’s words.
As Telpner noted in his story, Drache went on to write about Laak, but without revealing his true name. Drache said to me that he found the notion that a Mossad agent tracking Laak down and forcing him to commit suicide highly implausible.
But, I suggested to him, the same information that had been given to the Free Press, presumably by Russian authorities, might also have been given to the Israelis.
Drache did concede that point. He went on to say that immediately after he wrote his story about Laak, which was in late August, 1960, he recalled, he drove to Boston to resume his studies at Brandeis. On the way he happened to pick up a copy of the New York Times, which published a major story about the suicide of Alexander Laak but, as was the case with the Free Press story about the suicide, the NY Times story did not reveal his true name.
Drache also mentioned his personal connection to Alexander Laak – through Laak’s son. As Gene Telpner had written, they had both attended Gordon Bell High School, were classmates in fact and even played on the high school football team together. It was the fact that he knew Laak’s son that led his assignment editor at the Free Press to ask Drache to go to Laak’s house to interview him.
When the book “Forged in Fury” was published in 1970, Drache says he was shocked at the allegations made in that book about Laak.
Drache told me, “We wrote a couple of stories which received page one play, but did not give his (Laak’s) name because of libel laws.”
But when Drache read “Forged in Fury”, he was made aware of the full details surrounding Alexander Laak’s alleged background as a Nazi war criminal for the first time. He wrote to the Free Press to tell them about the book’s revelations, but says he never got a response from the newspaper.
Laak was never publicly identified in Winnipeg while he was alive. It is believed that there had been accusations from some sources, but he protested his innocence.
Arthur Drache explained, “Only his ‘suicide’ allowed fuller disclosures and until I read ‘Forged in Fury’ I was quite at a loss to explain his actions.”
One final footnote to this story: In attempting to find out more about Alexander Laak, I came across this information on a white supremacist website:
Alexander Laak , former commandant of the Jägala camp in Estonia where a large number of Jews were supposedly massacred, is alleged to have committed suicide by hanging in his garage in Winnipeg , Canada. A number of Laak’s subordinates had at the time been given harsh sentences at a Soviet show trial. According to an article in Der Tagespiegel September 8, 1960, Laak had declared the Soviet allegations against him to be “99% lies and Communist propaganda.” In Michael Elkin’s book Forged in Fury (1971) it is claimed that a Jewish “avenger” named Arnie Berg travelled to Winnipeg to kill Laak, and that Laak hanged himself under Berg’s supervision in order to not have his wife shot by Berg.
This entire story was brought to mind again when I started to watch a ridiculous TV show called “Hunters” which, although it has a stellar cast, is really nothing more than a comic book fantasy about Jewish avengers pursuing Nazis in America. Still, the story surrounding Alexander Laak’s suicide could make an interesting movie. Maybe Jonas Chernick would be interested?
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.