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A Jewish producer of ‘All Quiet On The Western Front’ sees his family history in the Oscar-nominated Netflix film
(JTA) — The film producer Daniel Dreifuss has only one surviving photo of a distant relative: his grandfather’s cousin, who fought for Germany in World War I and died in combat two days before the war’s end.
He has a few more photos of his grandfather, who also wore the German uniform in WWI — only to be rounded up by the Nazis two decades later during Kristallnacht and thrown into a concentration camp, as even the Jews who had fought for their country were not safe from its campaign of race extermination.
Dreifuss, who was raised in Brazil after his surviving ancestors fled the war to Uruguay, held up these weathered black-and-white photos to his Zoom camera as he spoke to the Jewish Telegraphic Agency from his home in Los Angeles. One shows his grandfather’s cousin in his military uniform, the other shows his grandparents posing together, between the wars.
“Twenty years later, your country, that you just gave your health for and your cousin for and your family for, sends you to a camp,” he said. “It’s a lot of trauma to have to go through in one lifetime.”
These family stories echoed through Dreifuss’ mind when he first read the script for a proposed modern take on “All Quiet on the Western Front,” the classic 1928 novel about the German army’s hellish experiences during World War I. Nearly a century later, author Erich Maria Remarque’s descriptions of trench warfare and of the utter lack of heroism, valor or patriotism felt by its soldier protagonists resonated with Dreifuss.
“I said, ‘I know these people,’” he recalled. “Not because they are some distant relatives that I’ve heard of, but because I am the grandson of one of those kids who were in the film.”
Dreifuss’ parents met at a Jewish youth group in Rio de Janeiro in the 1960s. “My father was my mother’s madrich,” he recalled, using the Hebrew word for a youth group counselor. After they were later married, they moved to Israel partially to avoid Brazil’s military dictatorship and became left-wing political activists. They left Israel just before the Yom Kippur War and relocated to Scotland, where Dreifuss was born, before returning to Brazil to raise him.
Dreifuss had his bar mitzvah in the city of Belo Horizonte before later moving to Rio, which has a much larger Jewish community. “My family was never at all religious, but culturally Jewish,” he said, recalling Passover celebrations and gefilte fish recipes. He did not have many Jewish friends growing up, but his Brazilian friends were interested in Judaism and would attend his family’s Jewish events.
Daniel Dreifuss, a producer of Netflix’s “All Quiet on the Western Front,” holds up a photo of his grandfather Max Dreifuss from 1919, recovering from his German military service in WWI. Max was sent to a concentration camp once the Nazis took power. (Courtesy of Daniel Dreifuss)
This global upbringing is reflected in Dreifuss’ interest in international film. It took a decade for him to mount his remake of “All Quiet,” which was eventually set up with a German production company and released by Netflix this past fall amid another endless military conflict in Europe. No one, he said, wanted to fund a resolutely anti-war film that refused to glorify its combatants, a film that was “never a hero’s journey, not the story of someone who came, you know, beat 1,000 people with their bare hands, triumphs and looks down on top of a hill at the end with some sweeping score.”
But that journey has been validated by the film’s impressive Oscar total, which surprised industry observers. At the nomination ceremony last month, “All Quiet” received nine total nods, the second most of any film this year, including for best picture — which the novel’s original 1930 Hollywood adaptation, directed by Jewish filmmaker Lewis Milestone, won. (This year’s Academy Awards will be held March 12.)
Considering the Nazis had once led a campaign of book burning against the source material and terrorized German movie theaters that showed the original movie adaptation, accusing it of being a “Judenfilm,” Dreifuss sees the new film’s success as a historical victory, too. “I love that my name will be associated with a story that was deemed degenerate by that regime,” he said.
When he was first presented with an early draft of the new “All Quiet” script, in 2013, Dreifuss was coming off of the success of another international historical film he had produced. “No,” a 1980s-set Chilean political drama, starred Gael Garcia Bernal as an ad executive tasked with convincing his country to vote the dictator Augusto Pinochet out of office. The film netted Chile’s first-ever Oscar nomination for international feature film, although Dreifuss himself is not Chilean.
In researching “No,” Dreifuss said, the film’s team had trouble finding Chileans who would admit to having cast their real-life vote in Pinochet’s favor — even though 40% of the population did so. “We couldn’t find one single person who supported him,” he recalled. “At some point, years later, no one wanted to say, ‘I supported it, I voted, I was on that side.’” He saw a parallel to the history of geopolitics in the run-up to WWII, when many Western countries — including his family’s adopted homeland of Brazil — were initially sympathetic to the Nazis.
When Hollywood studios turned down the proposed remake of “All Quiet,” forcing Dreifuss to turn to European financing, he saw an opportunity to mount the first-ever German adaptation of the property, which would allow the film to open up a “historical perspective” on how the aftermath of WWI led to the rise of the Nazis and the Holocaust.
German filmmaker Edward Berger, who also helmed several episodes of the espionage miniseries “Deutschland 83,” stepped into the director’s chair, and he also has a co-writing credit. German star Daniel Brühl, who has played many historical villains to the Jewish people in films ranging from “7 Days in Entebbe” to “The Zookeeper’s Wife,” took a key supporting role as the lead negotiator for the armistice agreements — the sole figure in the movie trying to find a peaceful resolution for his country. (The historical figure Brühl portrays, Matthias Erzberger, was vilified as a traitor by the German right and assassinated in 1921 by antisemitic nationalist radicals who were precursors to the Nazis.)
Though there are no explicitly Jewish characters in the film, Dreifuss believes it still speaks to the fate that would soon await Europe’s Jews.
“We know what followed in the decade in Germany,” he said. “So we could bring that to the film in subtle ways.”
He pointed to the armistice plotline that foreshadows how the Treaty of Versailles left Germany in a deeply disadvantaged position, creating an opportunity for Hitler’s brand of national populism. There are also scenes in which thoughtless German generals, driven by nationalistic fervor and wounded pride, send entire squadrons to their deaths mere minutes before the armistice is set to take effect. In one sequence, the film’s lead, the soldier Paul (Felix Kammerer), steals a goose from a French farming family of non-combatants and says: “It’s a hatred of the other, of not understanding, of being raised to have an enemy.”
Dreifuss is dipping into a different chapter of world Jewish history with his next project: a Showtime miniseries produced with the co-creators of the Israeli Netflix series “Fauda” that explores CIA operations in the Middle East and is partially set during the Lebanon War in which Israel had a heavy, and oft-criticized, military presence. The series will air this summer.
He has also been pitched a host of WWI and WWII-related projects in the wake of the success of “All Quiet.” But, he joked, “I would love for people to not only think of me as the war guy, or as the dictator guy.”
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Everyone was a fan of Clive Davis — even if they didn’t know it
Last September I spent about 30 seconds with Clive Davis in a crowded elevator.
I was in the Sony Building, having just seen a press screening of Richard Linklatter’s Blue Moon. The elevator was full of mostly young people — probably Sony employees — and some press. The doors pinged open and in stepped a man with two handlers and an adorable spaniel. I turned to a fellow journalist and whispered “That’s Clive Davis.”
Someone who knew Clive — enough to call him “Clive” — told him we’d just seen a movie about the creative breakup between lyricist Lorenz Hart and musical composer Richard Rodgers.
“Didn’t you play Janis Joplin for Richard Rodgers,” he asked Davis.
Davis replied with perfect comic timing: “Yes. He hated it.”
That anecdote tells us just how much Davis, the legendary music executive and producer who died Monday June 22 at the age of 94, changed the musical landscape.
Davis had been in the music business long enough to serve as a bridge figure between the Great American Songbook and the popular music of the latter half of the 20th Century. The artists he signed at CBS, and later Arista (he was ousted from the CBS/Columbia for allegedly using company money to finance his son’s bar mitzvah), are enduring icons even, in the case of Ms. Joplin, decades after their deaths.
But what hit me in the elevator was the feeling that not everyone there knew who he was. They did, of course, know the music: Pink Floyd, P!nk, Whitney Houston, Sly and the Family Stone, Barry Manilow, Neil Diamond, Leonard Cohen, Bruce Springsteen and Aerosmith, the very authors of “Love in an Elevator.”
It’s not overstating it to say that Davis’ influence across genres and his golden ear provided the soundtrack to American life. His own life was productive until the end.
He was in the Sony building because he was Chief Creative Officer at the company. A week before his death, the streets were thumping with a New York anthem from one of his late career discoveries: Alicia Keys.
Davis’ rise could be taught in Jewish Studies courses. Born in working-class Crown Heights, he — like Barba Streisand — was a graduate of Erasmus Hall High. He made good at NYU and got his law degree at Harvard.
He rose from the legal department at Columbia to become the company’s top tastemaker. Somewhere along the way he discovered Joplin — of a polar opposite disposition and background — and went from strength to strength.
Davis’ true triumph might have been just how adept he was at navigating everything the U.S. had to offer. The musicians he promoted had little in common save for his imprimatur.
In that elevator, which delivered us without much fuss to the lobby, there may have been people whose musical tastes gravitated to rock, R&B, jam bands, easy listening, guitar instrumentals and jazz.
Whether they knew it or not, Davis shepherded something they liked into existence. His genius was in recognizing genius.
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U.S. and Iran announce direct Lebanon track without Israel
(JTA) — Following tense high-level negotiations over the weekend, mediators in Switzerland announced Monday morning that Washington and Tehran have agreed on a 60-day roadmap toward ending the war.
The joint statement released by mediating countries Qatar and Pakistan also unveiled the creation of a Lebanon deconfliction mechanism. According to the mediators, this entails a direct U.S.-Iranian track to terminate military operations in Lebanon and includes the Lebanese government but not Israel. The mediators did not explain how that would operate or resolve the current hostilities between Israel and Hezbollah.
Throughout the weekend Jerusalem, which watched the talks and the announcement from the sidelines with concern, doubled down on its hardline stance against Iran and its proxy group Hezbollah.
Speaking to reporters in Switzerland Monday before returning to Washington, U.S. Vice President JD Vance clarified that Israel had the right to self-defense, but that “every other nation in the region has the right of self-defense” as well. The mechanism was to resolve direct violations of the ceasefire between Israel and Hezbollah, Vance explained, indicating that it augmented the ongoing diplomatic work.
“We also want to make sure that, you know, when things happen, they don’t spiral into a broader escalation,” he said, adding that “there really hasn’t been a mechanism to have those discussions until basically around 4 p.m. yesterday.” He said that the U.S. had been in constant contact with Israel on Sunday.
Prior to Vance’s statement, the Israeli government delivered its first overt criticism of the diplomatic efforts taking place at the Bürgenstock resort in Switzerland.
Addressing the Jerusalem News Syndicate Conference in Jerusalem Monday, Israeli President Issac Herzog said any negotiations to end the Israel-Lebanon conflict should be done by the two countries themselves and not “by Iranian extortion.”
He added, “Tying Iran to Lebanon not only leaves Israel exposed to constant threat; it leaves the Lebanese weak and powerless, and will prevent their president and government from moving forward.”
Herzog also noted that direct talks were already taking place between Lebanon and Israel in Washington under the auspices of the State Department. The next round of negotiations is scheduled for Tuesday, which Herzog said is designed to empower the Lebanese army to be the sole military force in its country. Hezbollah and Iran are not a party to those talks.
“The disarmament of Hezbollah must be inherent to any solution in Lebanon, and Iran cannot dictate the future of Lebanon – on these fundamental points there is full agreement between Israel and Lebanon,” Herzog stated.
He also thanked President Donald Trump for his efforts on Israel’s behalf, calling him “our closest friend and ally and leader of the free world.”
The Lebanese Presidency said Monday that President Joseph Aoun had received a phone call from US Vance, senior adviser Jared Kushner and Qatari Prime Minister Sheikh Mohammed bin Abdulrahman bin Jassim Al Thani, but did not clarify when that call occurred.
According to the Lebanese statement, the discussion focused on “consolidating the ceasefire in Lebanon, halting the Israeli military escalation, and the steps that must be taken in this regard, including the possibility of forming a cell for this purpose.”
The ongoing fighting between Israel and Hezbollah and the IDF’s presence in southern Lebanon has been a point of tension throughout the ceasefire deal between the U.S. and Iran. The shaky ceasefire has been in place since April 8 after Israel and the U.S. started the war on Iran at the end of February.
In early March, Iranian proxy Hezbollah joined in by attacking northern Israel. Jerusalem has maintained that the Lebanese front needs to stay separate and has continued to take aggressive retaliatory action against Hezbollah despite the U.S. imposing a separate ceasefire in Lebanon as well.
Meanwhile, Qatar and Pakistan said the U.S.-Iran memorandum included the establishment of a “High Level Committee” to oversee negotiations aimed at a roadmap “towards reaching a final deal within 60 days, laying the foundation for the immediate commencement of further technical talks” on Iran’s nuclear program, sanctions and dispute resolution. These were the first formal discussions as part of the new U.S.-Iran Memorandum of Understanding, with Vance representing Washington.
The vice president told reporters Monday that Sunday “was a very, very good day. We made a lot of good progress; we did exactly what we wanted to do,” including securing an agreement from Iran that inspectors from the International Atomic Inspection Agency be allowed back into Iran.
Negotiators also created a mechanism to ensure that the Straits of Hormuz remain open, Vance said, downplaying reports of disputes between the American and Iranian teams.
However, Iranian media reported that members of Tehran’s delegation briefly left the room during Vance’s remarks after learning that Trump was issuing threats against Iran following Iran’s announcement on Saturday that it planned to once again close the Strait of Hormuz.
Vance said it was true the Iranians had threatened to walk out, but in the end they stayed and negotiated until the early hours of the morning.
Trump told Fox News in a phone call on Sunday morning that he had spoken with Iran overnight and said that if the country closed the Strait, he would “blow the s— out of them.” Fox News also reported that Trump had said, “You won’t even make it back to your f—— country.”
Trump also posted on his Truth Social account on Sunday that unless Iran stops supporting Hezbollah, “We’ll hit Iran very hard again, just like we did last week, only harder!!!”
Iranian officials reportedly responded to what they termed U.S. “verbal threats,” saying that “any form of threat is considered a serious violation of the agreement.”
Iranian Foreign Minister Abbas Araghchi said Sunday the talks had delivered “major progress to end [the] Lebanon War,” and added that discussions included oil exports, sanctions relief, frozen Iranian assets and reconstruction plans.
On Sunday, however, Prime Minister Benjamin Netanyahu declared, “We will remain in the security zone in southern Lebanon for as long as it takes in order to protect the residents of the North.”
Vance on Monday said that Israel would have to withdraw, but only when it can do so safely. The Trump administration, he explained, hoped to reach a situation where both Lebanon’s territorial integrity and Israel’s security were protected, noting that Israel itself has said it doesn’t have permanent “territorial intentions” with regard to southern Lebanon.
In separate remarks at Sunday’s JNS International Policy Summit, Netanyahu said, “We have prevented Iran from carrying out a plan to annihilate us. We removed an existential danger.” He added, “We changed Israel’s security doctrine. We initiate. We attack. We surprise.”
Directly addressing the U.S.-Iran negotiations, he added, “No matter what happens in the talks, with an agreement, without an agreement, I pledge to you that Iran, as long as I am prime minister, will never have a nuclear weapon. Never.”
This article originally appeared on JTA.org.
The post U.S. and Iran announce direct Lebanon track without Israel appeared first on The Forward.
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Years after a boycott fight, Ben & Jerry’s Israel debuts a flavor celebrating Israeli resilience
(JTA) — Ben & Jerry’s Israel operation has come up with a flavor that does not leave much to interpretation. Called “Milk and Honey,” a nod to the biblical description of the Land of Israel, its namesake ingredients are supplied by Israeli cows and bees and its chocolate fudge pieces come shaped like Stars of David.
The company, which split from its American counterpart after a contentious 2021 boycott fight, is billing the new pint as its “most Israeli flavor ever” and, on its website, as a “symbol of hope, rehabilitation, and positive action” after the Hamas-led Oct. 7 attack.
Its ingredients and production come from southern Israeli communities most affected by the massacre and the war that followed. The company, based in the southern city of Kiryat Malachi, said it “felt a responsibility to take an active part in the region’s recovery process.”
The milk and cream come from the dairy in Kibbutz Alumim, one of the Gaza-border communities infiltrated by Hamas terrorists on Oct. 7, 2023. The honey comes from the beehives of Kibbutz Yad Mordechai. The chocolate Stars of David are made by hand at the Korint factory in Beersheba, part of the Shkulo Tov social enterprise, which helps integrate people with disabilities into the workforce.
Even the wrapper is local: the pint is adorned with “Fields of Light,” a painting by Rivi Doron-Gerloy, a southern Israeli artist who was killed in a Miami car accident last year.
The flavor was developed in partnership with the Ayalim Association, a nonprofit that works to strengthen Israel’s periphery. The company said royalties from sales of the new flavor will go to Ayalim’s rehabilitation and educational initiatives in the south.
The Israeli and American Ben & Jerry’s operations are now completely separate, a split that followed one of the more improbable diplomatic dramas ever to involve ice cream. In 2021, Ben & Jerry’s said it would stop selling in Israeli settlements in the West Bank, saying sales there were “inconsistent” with its values.
The move set off an uproar in Israel. President Isaac Herzog called the boycott a “new kind of terrorism,” while Benjamin Netanyahu, then opposition leader, retweeted the company’s announcement that it would stop selling in the “Occupied Palestinian Territories,” writing, “Now we Israelis know which ice cream NOT to buy,” alongside Israeli flag and flexed-bicep emojis.
The original founders, Ben Cohen and Jerry Greenfield, who no longer control the company but remain its best-known faces, also came under fire after the decision. In an interview, they were asked why the boycott logic did not extend to places such as Georgia and Texas, despite their opposition to those states’ voting rights and abortion laws.
“Why do you still sell ice cream in Georgia? Texas?” Axios reporter Alexi McCammond asked in a video that went viral on pro-Israel platforms.
Clearly stumped, Cohen shrugged his shoulders. “I don’t know,” he said, laughing. “You ask a really good question and I think I’d have to sit down and think about it for a bit.”
Unilever’s then-chief executive, Alan Jope, also appeared to suggest that Israel had become an inconveniently sticky scoop of activism. “There is plenty for Ben & Jerry’s to get their teeth into in their social justice mission without straying into geopolitics,” he reportedly said in a quarterly earnings review at the time.
The standoff ended, at least commercially, when Unilever, Ben & Jerry’s parent company, sold the Israeli business in 2022 to Avi Zinger, the longtime Israeli licensee and owner of American Quality Products. The sale was accompanied by a legal fight that was inflamed when Zinger told an Israeli news outlet that, once he took control of the company in Israel, he could rename the signature flavor “Chunky Monkey” to “Judea and Samaria,” the Hebrew term for the West Bank.
Under the ultimate deal, Ben & Jerry’s could continue to be sold throughout Israel and in Israeli settlements, under Hebrew and Arabic branding, while the Vermont-based company said it disagreed with the move and would no longer profit from Israeli sales.
The split left the Israeli operation in an unusual position: carrying one of the most recognizable American ice cream names, while openly defying the political stance associated with that name abroad.
But the corporate restructuring has not been enough to cleanse the palate for everyone. On social media, the new flavor drew curiosity and praise, but also lingering resentment from those who said the brand name still carried too much baggage, even under Israeli ownership.
“I really don’t care if it’s owned by someone other than Ben and Jerry in Israel. Those two clowns’ names are still associated with the brand. I wouldn’t spend a penny for this ice cream regardless. That brand is done,” one person wrote on Instagram.
“We’ve been eating Häagen-Dazs since October 7th,” another said.
Last year, Cohen announced that he planned to produce a “flavor for Palestine” independently after Unilever blocked Ben & Jerry’s from creating one, soliciting suggestions about what should accompany watermelon, a symbol of Palestinian solidarity, in his concoction.
“Milk and Honey” has come to market faster. So does the new flavor deliver a taste of the Holy Land?
One food influencer, who called the new flavor a “statement,” offered a less scriptural verdict on the taste, shrugging that it “tastes like vanilla with chocolate chips” — a conclusion echoed by others in Israeli food aficionado groups, who lamented that the honey was barely noticeable.
One commented, referring to dairy-free desserts made to comply with kosher laws prohibiting the mixing of milk and meat: “Not the tastiest thing I’ve ever eaten, but not as bad as a pareve dessert either.”
This article originally appeared on JTA.org.
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