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A Golda Meir biopic starring Helen Mirren avoids politics. It premiered as Israel’s government faces widespread scrutiny.
(JTA) — When a film about a group of Israeli youths who visit former concentration camps in Poland premiered on Sunday at the Berlin Film Festival, its Israeli producer took the microphone after the screening to decry the state of his nation.
“The new far-right government that is in power is pushing fascist and racist laws,” said Yoav Roeh, a producer of “Ha’Mishlahat” (“Delegation”) on stage after the film’s premiere. He was referring to lawmakers in Israel’s government who have long histories of anti-Arab rhetoric and their new proposals to limit the power of the country’s Supreme Court, which critics at home and around the world deem a blow to Israel’s status as a democracy.
“Israel is committing suicide after 75 years of existence,” Roeh added.
The next day brought the premiere of “Golda,” a highly-anticipated Golda Meir biopic starring Oscar winner Helen Mirren about the former Israeli prime minister and her decisions during the 1973 Yom Kippur War. Hours earlier, Israel’s government took another step closer to passing its controversial judicial reforms, and when asked about the political situation, Mirren didn’t mince words.
“I think [Meir] would have been utterly horrified,” she told AFP. “It’s the rise of dictatorship and dictatorship was what has always been the enemy of people all over the world and she would recognize it as that.”
That was the heated backdrop for the debut of “Golda,” which will not hit U.S. theaters until August. But an onlooker wouldn’t know that from the film’s own introductory press conference with Mirren, director Guy Nattiv and other stars from the film. The headlines that have emerged from it have been dominated by the film’s place in the “Jewface” debate, about who should play Jewish characters on screen. Mirren is not Israeli or Jewish.
“Let’s say that we’re making a movie about Jesus Christ. Who’s going to play him?” Mirren’s co-star Lior Ashkenazi stepped in to answer in response to a journalist, eliciting laughter from the press corps.
The film is framed by Meir’s testimony to the Agranat Commission, which investigated the lead-up to the war. As the film shows through flashbacks, Meir appears to have not acted quickly enough on Mossad intelligence about a possible attack from Egyptian and Syrian forces. Israeli forces were surprised on the holiday and initially lost ground; both sides lost thousands of troops, and the war is seen as a major trauma in Israeli history — the moment when the state’s conception of its military superiority over its Arab neighbors was shattered. The film is claustrophobic, shot mostly indoors — in bunkers, hospital rooms and government offices — and offers an apt visual encapsulation of the loss the war would bring.
Mirren walks the red carpet at the Berlin Film Festival, Feb. 20, 2023. She spent time on a kibbutz in 1967. (Courtesy of Berlinale)
Though Meir has historically been lionized as a tough female hero in the United States and in Jewish communities around the world (even non-Jewish soldiers in Ukraine took inspiration from her in the early days of the Russian invasion last year), her legacy is more complicated in Israel and the Palestinian territories. In addition to being associated with the trauma of the war for many Jewish Israelis, she is remembered as an inveterate enemy by Palestinians.
In recent years, the representation of Meir has shifted more favorably in Israel, said Meron Medzini, Meir’s former press secretary and one of her biographers. He said that historians have begun to view her favorably in comparison to some of the political leaders who followed her.
“I consider the film [‘Golda’] part of this effort to rehabilitate her name,” he told the Jewish Telegraphic Agency. “I think she is now gaining her rightful place in the history.”
“Golda” fits into Medzini’s narrative by emphasizing the intractability and pride of her Cabinet ministers as the prime reasons for Israel’s surprise. It affirms Meir’s honor by portraying her as attempting to protect the ministers from criticism — all men — and to promote national unity.
At the press conference, Nattiv gave the briefest of nods to Meir’s complex legacy but like Medzini compared her to Israel’s current slate of leaders, who he reserved brief criticism for.
“Golda is not a super clean character in this movie,” said Nattiv, who is best known for directing “Skin,” a 2018 film about a neo-Nazi. “She had her faults. She made mistakes. And she took responsibility, which leaders are not doing today.”
Meir has long enjoyed a kind of star status in the United States. She was interviewed by Barbra Streisand in 1978, close to the Israeli leader’s death from cancer, for a TV special on Israel’s 30th anniversary.
“She clearly is the great-grandmother of the Jewish people [in the special] and Streisand is very reverential toward her,” Tony Shaw, a history professor at the University of Hertfordshire and the author of “Hollywood and Israel: A History,” said about the Streisand interview. “She just comes across as very humble, slightly out-of-date, out-of-time.”
“Of course, it’s very different from what we now know Golda Meir was really like,” he added, referring to her strong character and political pragmatism, which the film seeks to convey.
Since William Gibson’s critically-panned 1977 play also titled “Golda,” there have been a number of representations of Meir. Most famous among them is Ingrid Bergman’s final performance in “Golda Meir,” a four-hour-long television biopic from 1982. That production “was very much in keeping with Hollywood’s treatment of Israel in that period,” said Shaw, “which was very sympathetic towards Golda Meir, towards Israel and the troubles it was having in the first 30 years of its life.” More recently, Meir appears in Steven Spielberg’s more ambivalent 2005 film “Munich,” in which she helps to recruit the film’s protagonist to track down the figures behind the 1972 Munich Olympics attacks.
Golda Meir meets with Israeli Defense Minister Moshe Dayan and troops on the Golan Heights during the Yom Kippur War, Oct. 21, 1973. (Ron Frenkel/GPO/Getty Images)
Nattiv’s work, which has received mixed early reviews, focuses on the war as reflected in Meir’s character, forgoing engagement with broader politics or history.
“My inspiration was ‘Das Boot,’ in the way that she is in the trenches,” said Nattiv, referencing the revered World War II movie from 1981 set in a German U-boat. “She is very alone in the mayhem of war around these men.”
“This is the Vietnam of Israel,” he explained. “It is a very tough and hard look at the war and every soldier that died…Golda takes it to her heart.”
Despite the “Jewface” questioning, Nattiv compared Mirren to an “aunt” figure who, for him, had the “Jewish chops to portray Golda.” Mirren explained to the AFP that she has long felt a connection to Israel and to Meir, especially after a stay on a kibbutz in 1967, not long after the Six-Day War, with a Jewish boyfriend.
“She was at her happiest on the kibbutz actually,” Mirren said. “Their idealism, their dream of the perfect world. And I did experience that which was great.”
Sanders Isaac Bernstein contributed reporting from Berlin.
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The Yiddishist Yeshiva is open for registration
ס׳האָט זיך לעצטנס געשאַפֿן אַ נײַער סאָרט לייענקרײַז דורך פֿייסבוק, וווּ מע לערנט תּורה אויף ייִדיש צוזאַמען.
אינעם לייענקרײַז, וואָס הייסט „די ייִדישיסטישע ישיבֿה“, לייענט מען חומש מיט רש״י — סײַ אויפֿן אָריגינעלן לשון־קודש סײַ אויף ייִדיש־טײַטש. „די גרופּע איז אָפֿן פֿאַר אַלע מינים מענטשן,“ האָט דערקלערט דער לינגוויסט און ייִדיש־אַקטיוויסט לייזער בורקאָ, וועלכער האָט אָרגאַניזירט די גרופּע. „פֿרויען און מענער, ייִדן און נישט־ייִדן, געי און ׳גלײַך׳. נײַע תּלמידים דאַרפֿן פֿאַרשטיין ייִדיש גוט, אָבער זיי דאַרפֿן נישט האָבן קיין תּורהדיקן הינטערגרונט.“
די גרופּע טרעפֿט זיך יעדן דינסטיק דורך פֿייסבוק. נאָך מער פּרטים אָדער כּדי זיך צו פֿאַרשרײַבן, שטעלט זיך אין קאָנטאַקט מיט בורקאָ, אויפֿן אַדרעס leyzertag@gmail.com אָדער דורך פֿייסבוק.
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A century-old Jerusalem photo album sparks search for forgotten images of the Western Wall
(JTA) — When David Freedman discovered a long-forgotten photo album in his parents’ Montreal basement last year, he found nearly 100 pages of century-old photographs from his grandfather’s year in British Mandate Palestine, capturing Jerusalem street scenes, market stalls and holy sites.
The photographs were not only century-old and in near-perfect condition, but included figures who would later become central to Jewish medical and political history, among them Israel’s future first president Chaim Weizmann, Jerusalem ophthalmologist Abraham Ticho, malaria researcher Israel Kligler, future British prime minister Winston Churchill and Herbert Samuel, Britain’s first high commissioner for Palestine.
David Freedman said he knew he had “struck gold” when he found the album, which had been untouched for decades. “I realized in disbelief I was looking at extraordinary images of Jerusalem,” he said.
Though Freedman said the album showed his grandfather’s “passion for skillful, impromptu photography,” it was images of a site that epitomizes endurance that are having the broadest impact.
Freedman’s pictures of the Western Wall has inspired a public appeal by the Tower of David Jerusalem Museum, which is asking people to look through old albums and attics for photographs, postcards and other visual material that could help expand the historical record of Judaism’s holiest site.
The request comes ahead of a major exhibition opening in 2027 marking 60 years since the 1967 Six-Day War brought the wall, known in Hebrew as the Kotel, under Jewish control for the first time in nearly two millennia.
Although the Western Wall is now one of the most photographed sites in the world, museum curators say the visual record of earlier decades remains surprisingly fragmented, with many of the most intimate images likely still tucked away in private collections and family albums.
“The Western Wall, the Kotel, in its simplest form, is a structure of ancient stones. Yet its true meaning has never resided in the stones alone — it has been shaped and elevated by the countless individuals who have stood before it over the centuries,” Eilat Lieber, the museum’s director and chief curator, said in a statement.
Next year’s exhibition, titled “Eyes on the Wall” and curated by Shimon Lev and Yael Brandt, will be the first large-scale exhibition dedicated entirely to the Western Wall, the museum said, and will trace its transformation over nearly 2,000 years. It will be one of the major exhibitions staged by the Tower of David Museum since it reopened in 2023 after a $50 million renovation of its ancient citadel complex.
The wall, the exposed section of an ancient retaining wall around the Temple Mount, the site of the biblical Jewish temples, has long been Judaism’s most sacred places of prayer and pilgrimage. From 1948 until the 1967 Six-Day War, when Israel captured the Old City and East Jerusalem from Jordan, Jews were barred from going there.
Among its most iconic images was David Rubinger’s photograph of three Israeli paratroopers standing at the wall shortly after its capture, looking upward in a mixture of awe and disbelief. The picture was taken 59 years ago this week.
Abraham Orkin Freedman, a Canadian physician and Zionist activist, took his photographs before the site was so contested. He arrived in Palestine in July 1920, just as Britain was replacing military rule with a civil administration, and stayed until 1922, serving during that period as managing director of Hadassah Hospital. His grandson David, also a doctor, said the album’s timing gives it much of its historical value, with photographs that capture people in the streets, as well as the terrain and buildings of Jerusalem during the nascent years of the British Mandate.
Among the images Freedman uncovered, the one that struck him most was a photograph of women praying side by side with men at the oldest part of the Western Wall, a scene far removed from the gender-separated prayer sections at the site today. The question of mixed-gender prayer at the Wall remains politically charged, with a recent High Court order to advance the egalitarian section followed by Knesset moves to strengthen Chief Rabbinate control over prayer at the site.
After recognizing the album’s significance, Freedman met with his family who decided collectively to give it to the Tower of David Jerusalem Museum for safekeeping, research and public access. Freedman said the family was proud the album had found “a new home, not many meters from where my grandfather once stood.”
Lev said he hoped the appeal would bring more discoveries like Freedman’s into public view, expanding the visual record of the Western Wall beyond official archives.
“There is something profoundly moving in the moment when an intimate private photograph transcends its original purpose and becomes an important historical testimony,” Lev said.
This article originally appeared on JTA.org.
The post A century-old Jerusalem photo album sparks search for forgotten images of the Western Wall appeared first on The Forward.
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5th man charged in March arson of London’s Hatzola ambulances
(JTA) — Britain’s Crown Prosecution Service announced Tuesday that an 18-year-old man has been charged in connection with the March arson attack that destroyed four ambulances owned by Hatzola, a Jewish volunteer emergency service.
Subhan Ahmed, a British national, was charged on Monday with “assisting an offender” in connection with the arson.
The ambulances were set ablaze in the early morning of March 23 in Golders Green, a heavily Jewish neighborhood in London. The incident spurred increased patrols in Jewish communities.
The charge is the latest development in an investigation being led by the Metropolitan Police’s counter-terrorism unit.
Four others have already been charged in connection with the attack.
Three British nationals — 20-year-old Hamza Iqbal, 19-year-old Rehan Khan and 18-year-old Judex Atshatshi — along with a 17-year-old dual British and Pakistani national were all charged in April with “committing arson, destroying or damaging property, and being reckless as to whether life would be endangered.”
The four have remained in custody ahead of a trial planned for January. Ahmed, meanwhile, was released ahead of a June 16 court date.
The ambulance arsons came at the early edge of a wave of incidents that have put London Jews on edge and induced the city’s police force to step up their presence in Jewish communities. The incidents have included multiple incendiary devices placed near synagogues as well as the stabbing in April of two Jewish men in Golders Green. The Metropolitan Police reported last week that antisemitic hate crimes in the capital rose 72% in May.
Following the announcement of Ahmed’s charge, the Community Security Trust, a Jewish organization, thanked the police and the Crown Prosecution Service “for their ongoing work investigating this attack and other arson incidents targeting the Jewish community.”
It added in a statement, “These are very serious allegations, and it is right that those responsible are being held accountable.”
This article originally appeared on JTA.org.
The post 5th man charged in March arson of London’s Hatzola ambulances appeared first on The Forward.
