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Disney+ series ‘A Small Light’ tells the Anne Frank story from the perspective of the woman who hid her
(JTA) — The short life of Anne Frank has inspired generations of filmmakers and television producers. The list of past productions range from “The Diary of Anne Frank” (1959), whose director George Stevens witnessed Nazi occupation as a U.S. army officer, to the Academy Award-winning documentary “Anne Frank Remembered” — featuring the only known footage of Anne — to the Emmy Award-winning dramatized miniseries “Anne Frank: The Whole Story” (2001).
On Monday night, viewers will get another TV version. But “A Small Light,” an eight-episode series premiering on National Geographic and streaming Tuesday on Disney+, tells the story from a new perspective: through the eyes of the woman who hid the Frank family.
Miep Gies was an independent 24-year-old with a busy social calendar and a dance club membership when she began working for Anne Frank’s father Otto in 1933 at Opekta, his successful jam business in Amsterdam. As Jews were rounded up and deported from the Netherlands in 1942, her Jewish boss asked if she would be willing to hide his family in an annex above the office, and she did not hesitate.
“A Small Light” stars Bel Powley as Gies, Joe Cole as her husband Jan Gies and Liev Schreiber as Otto Frank. It’s named for a quote from the real Gies, who once said that she did not like to be called a hero because “even an ordinary secretary or a housewife or a teenager can turn on a small light in a dark room.”
That metaphor had literal meaning for the Frank family and four others in the secret annex, who spent two years in a dark 450-square-foot space behind a hinged bookcase. Gies, her husband and four other employees of Otto Frank secretly kept eight Jews alive while running his business downstairs. Gies brought them food and library books, using black market ration cards and visiting several different grocers to avoid suspicion. Anne Frank said in her diary, “Miep is just like a pack mule, she fetches and carries so much.”
In the series, the “dark room” is seen less than Gies’ frenzied bicycle trips across Amsterdam, as she tries to sustain the appearance of a normal life. Her secret pushes her away from friends and family, while her marriage strains under the weight of ever-looming disaster. The creators of “A Small Light” sought to recreate a hero as a modern, flawed, at times even annoying person.
“She’s not some kind of saint,” executive producer Joan Rater told the Jewish Telegraphic Agency. “She had moods, she had a new marriage, she wanted to hang out with friends. She wanted to take a day off and she couldn’t.”
“I think everyone can relate to Miep,” said Powley, an English-Jewish actress known for starring in several British shows and in American films such as “The King of Staten Island.” “She was just an ordinary person in extraordinary circumstances.”
Although “A Small Light” is rife with tense scenes and suspense, the producers fashioned it with young audiences in mind. The show conspicuously avoids the explicit violence and horror typically expected of its subject matter, leaving out concentration camps and murders. Rater and co-creator Tony Phelan wanted children like their own to watch the series. While they were writing it, their daughter was the same age as Anne was when she was writing her diary.
Some young viewers have seen Anne’s story being swept up in literary purges across U.S. school districts, as part of the debate over what should be taught in American classrooms. Earlier this month, a Florida high school removed an illustrated adaptation of her diary after determining that references to her sexuality were “not age appropriate.” The same edition was previously yanked from a Texas school district, although it was reinstituted after public outcry. Meanwhile, a Tennessee school board banned “Maus,” Art Spiegelman’s Pulitzer Prize-winning graphic novel about his father’s experience in the Holocaust, after objections over curse words and nudity last year.
The name “Anne Frank” has long been synonymous with Holocaust education as her diary remains one of the world’s most-read books, with translations in over 70 languages. But the “relatable” rescuer presents another appealing way to teach children about one of the most wretched chapters in human history, said Brad Prager, a professor of German and film studies at the University of Missouri.
“It is the message that people like to hear,” Prager told the JTA. “If you ask a fourth-grader why we watch TV and movies — well, this is so that you can learn to do the right things, or you can learn that in certain circumstances anyone can be a hero.”
Liev Schreiber plays Otto Frank and Amira Casar plays Edith Frank in “A Small Light.” (National Geographic for Disney/Dusan Martincek)
A broader lens on the Netherlands during World War II is less palatable. The Germans and their Dutch collaborators implemented a highly effective system of persecution: Between 1942 and 1944, about 107,000 Dutch Jews were deported primarily to Auschwitz and Sobibor, then murdered. Only 5,200 of them survived.
Although Gies did everything she could to save the Jews in her care, the unwritten ending to Anne’s diary is well-known. Three days after her last entry in August 1944, Dutch police officers led by SS officer Karl Josef Silberbauer raided the annex. Gies escaped arrest by observing that she and Silberbauer shared a hometown.
“My luck was that the police officer in charge came from Vienna, the same town where I was born,” she said in a 1997 interview with Scholastic. “I noticed this from his accent. So, when he came to interrogate me, I jumped up and said, as cheerfully as I could, ‘You are from Vienna? I am from Vienna too.’ And, although he got very angry initially, it made him obviously decide not to arrest me.”
In a valiant last-ditch effort, Gies walked into the German police office the next day and attempted to buy her friends’ freedom. She was unsuccessful.
Gies found Anne’s notebooks and papers strewn on the annex floor. Without reading them, she gathered and tucked the writings into a drawer, hoping to return them to their owner. Germany had all but lost the war already, with Allied troops less than 250 miles from Amsterdam.
The Franks were packed on the last train ever to leave the Westerbork transit camp for the Auschwitz extermination camp. Otto was separated from his wife Edith and daughters Anne and Margot on the Auschwitz platform. In October, the girls were transported to Bergen-Belsen, and Edith succumbed to starvation in January 1945. Her daughters died of typhus a month later, when Anne was 15 years old.
Some studies have suggested that knowledge about the Holocaust is diminishing. In 2020, the Claims Conference found that 63% of Millenial and Gen Z Americans (ages 18-39) did not know that six million Jews were murdered in the Holocaust. More than 10% did not recall ever hearing about the Holocaust, while 11% believed that Jews caused it. Another Claims Conference survey reported that despite living in the country where Anne hid from the Nazis, a majority of Dutch people did not know the Holocaust took place there.
“In a time that antisemitism is on the rise and there are more displaced people in the world than there ever have been before, it couldn’t be a better time to re-explore this part of history, but through the lens of this ordinary young woman,” said Powley.
While “A Small Light” celebrates the power of the individual, the fate of Anne Frank also represents the failure of the whole world, said Prager. By centering Gies’ perspective, he said, the series risks making Anne a peripheral character in her own brutally aborted story.
“When you decenter Anne Frank, one thing is that you lose the Jewish perspective on the persecution,” he said.
Otto Frank, the sole survivor from the annex, appeared at Jan and Miep Gies’ doorstep after the war and ended up living with them for over seven years. In July 1945, Gies watched as he received the notice that his children were dead.
“He took it in his hands and suddenly he became eerily quiet,” Gies said in an interview for the Anne Frank House. “You cannot explain it, it was a silence that speaks. I looked up. He was white as a sheet. And he handed me the letter.”
Gies read the piece of paper, stood up and opened her desk drawer. “I took all the diaries, with all the separate sheets and everything and handed them over to Mr. Frank,” she said.
She told him, “This is your daughter Anne’s legacy.”
In 2010, Gies died at 100 years old. Every year on Aug. 4 — the day the Franks were arrested — she stayed at home, drew her curtains and did not answer the phone or doorbell.
Powley believes the show’s angle gives a fresh perspective on “your mom’s dusty copy of Anne Frank’s diary.” She approached the role of Gies with a heavy sense of responsibility.
“I feel a deeper connection to this story than I have with other projects,” she said. “This offer came to me on Holocaust Memorial Day and it immediately had that special feeling to it. My grandma, the Jewish matriarch of my family, died during COVID. I feel that she would be proud.”
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Why is the biggest soccer team in the world talking about Joseph Goebbels?
The biggest rivalry in international soccer — between Real Madrid and FC Barcelona — has erupted in recent months, as Madrid pushes the Spanish soccer federation to punish Barca for alleged referee bribery.
But the ugly sparring between the clubs took an unexpected turn last week when Spanish league president Javier Tebas entered the fray with a shocking comparison.
“Real Madrid’s management directs an orchestra of mouthpieces and Real Madrid TV leads the singing,” Tebas wrote Oct. 15 on X. “Their score is always the same: select the plays that suit them, repeat the grievance, feed the suspicion, and point fingers at the enemies.
“That method recalls propaganda mechanisms exploited by Goebbels, Nazi Germany’s minister of propaganda: systematic repetition, construction of an enemy, and subordination of facts to the narrative.”
Real Madrid, which has employed such stars as Cristiano Ronaldo and David Beckham, condemned the remark with a statement calling for Tebas’ resignation both from the Spanish league, La Liga, and the Royal Spanish Football Federation, where Tebas serves as vice president.
“Real Madrid C. F. considers it absolutely intolerable and extraordinarily serious that someone holding two positions of utmost responsibility in Spanish football resorts to a comparison with the propaganda methods of the Nazi regime to discredit our club, its management, and its television,” the club wrote Oct. 16.Tebas has thus far refused to resign or even take down the post, and has defended his critique by pointing to other Spanish leaders who have made similar comparisons in the past.
The Goebbels controversy comes amid growing concerns about antisemitism in Spain, including in sports, where thousands of protesters blocked an Israeli-branded cycling team from competing in the Vuelta race last year.
The bribery accusations against Barcelona first surfaced in 2023, when it was revealed the club had paid millions of dollars to companies linked to the former vice president of the Spanish refereeing body, José María Enríquez Negreira. A Spanish court dismissed the bribery charges in 2024, but the investigation continued, and earlier this month Madrid submitted a tranche of documents it said proved the bribery claims.
The conflict between the club and Tebas dates back at least to 2021, when Madrid club president Florentino Perez spearheaded a breakaway international league that would have threatened Spanish competition. Barcelona had also agreed to join the so-called Super League, but the plan was scuttled after enormous backlash from fans across the continent.
Joseph Goebbels, one of Hitler’s most devoted followers, led the German Propaganda Ministry after the Nazi party came to power in 1933. He and his wife died by suicide in 1945 after killing their six children with cyanide.
The post Why is the biggest soccer team in the world talking about Joseph Goebbels? appeared first on The Forward.
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Israel’s election may hinge on whether Netanyahu’s opposition will accept Arab support
Israel’s approaching election is developing into an extraordinary paradox: Prime Minister Benjamin Netanyahu, whose government presided over the catastrophe of Oct. 7 and whose record since has been a succession of security failures, assaults on democracy, capitulations to Haredi interests and international embarrassments, may yet survive politically because his opponents cannot bring themselves to accept the parliamentary support of Israel’s Arab citizens.
The polls have tightened, the opposition has conducted a strangely timid campaign, and U.S. President Donald Trump’s endorsement of Netanyahu over the weekend introduces an unpredictable element into a contest that should by any reasonable accounting be a referendum on utter failure. Yet given the picture emerging in the polls, the decisive question is whether the opposition’s leaders possess the courage to reach out to the one-fifth of Israelis who are Arabs – who are expected to vote in very high numbers on Oct. 27.
Since 1973, Israel’s classic center-left has never secured an election-day parliamentary majority without the seats of Arab parties. Yitzhak Rabin’s victory in 1992, for example, depended on a parliamentary balance that included Arab representatives, whose support later became essential to his government’s survival. By most credible polls, that is the picture that emerges now, and with that support, the opposition could become a comfortable majority of close to 70 of the 120 Knesset seats.
But things are not so simple. In 2020, most of the Joint Arab List – an alliance of Arab parties in Israel – recommended opposition leader Benny Gantz for prime minister, producing a numerical majority that collapsed because several opposition lawmakers simply could not stomach the prospect. But the Naftali Bennett-Yair Lapid government that removed Netanyahu in 2021 included the Arab party Ra’am, demonstrating that cooperation across this divide was possible even among politicians with profound disagreements about national identity and the question of a Palestinian state.
Throughout these episodes, the challenge was the elementary democratic principle that the votes of Arab citizens should carry precisely the same weight as those of Jewish citizens. And yet there are complications with these political alliances: the Arab parties are not “Zionist” – and more relevantly, they have real difficulty in a situation that involves conflict with the Palestinians, who are their non-citizen brothers and sisters.
Netanyahu has spent years exploiting the discomfort of his opponents with this reality, transforming the prospect of Arab political influence into a weapon against anyone seeking to replace him. During this election, his campaign has placed particular pressure on Gadi Eisenkot, the former IDF chief of staff, portraying any government of his, if it’s dependent on Arab parties, as compromised from the outset.
Eisenkot, Naftali Bennett and other opposition leaders are trying to win over former right wing voters who may have tired of Netanyahu’s endless scandals and failures – but those voters also have serious reservations about the Arab parties. So their prevarications are not hard to understand.
There is, of course, a double standard: Netanyahu routinely counts on the ultra-Orthodox parties, whose demands for military exemptions, public subsidies and educational autonomy have profound consequences for Israel’s security, economic resilience and civic solidarity. Their representatives are treated as legitimate negotiating partners whose seats belong automatically in the right-wing bloc, even when, indeed, they call themselves non-Zionist.
Arab political leaders are now offering the opposition passive support in parliament for free, meaning they do not even demand a seat at the government table. According to all credible polls, the opposition plus the Arab parties should have a comfortable majority after the Oct. 27 vote.
Mostly Muslim, with Christian communities and the distinct Druze population, these citizens share aspects of the language, culture and historical grievances of the surrounding Arab world while participating in the institutions, economy and daily life of the Jewish state. Two stories convey this complexity.
The first: A wounded Jewish reservist, a new immigrant and Technion engineer, was driving toward a hospital for treatment of a hand injured during service in Lebanon when police stopped him for speeding last year. As the Maariv newspaper’s columnist Ben Caspit reported, the reservist presented documentation of his medical circumstances, yet the officers, who were Jewish, issued a fine and delayed him despite the potential danger to his injured finger, behaving at times with an astonishing lack of consideration.
The case eventually reached a court, where the fine was canceled in a ruling that criticized the enforcement as falling short of reasonable, proportionate and fair administrative discretion. The judge was Rasha Saadi Atamna, an Arab woman whose decision recognized the wounded soldier’s service and circumstances while holding an institution of the Israeli state accountable to its own standards. It was a recognition denied by fellow Jews.
The second: On the morning of Oct. 7, 2023, Youssef Ziadna, a Bedouin minibus driver from Rahat who had dropped off a group of young people at the Nova music festival, showed extraordinary courage.
When Hamas launched its massacre, one of his passengers called desperately for help, and Ziadna drove toward the festival, entering an area where gunmen were murdering civilians and vehicles were fleeing in panic. Near the Gaza border communities, a man running from the slaughter warned him to proceed no further, and moments later gunfire sent Ziadna and others diving into a roadside ditch.
The danger was clear, the route home was available, and every ordinary instinct of self-preservation pointed toward escape. Ziadna instead continued toward the festival, found the people who had summoned him, collected other terrified and wounded Israelis and eventually squeezed roughly 30 passengers into a minibus designed for 14. Drawing on his knowledge of the terrain, he drove across fields and away from the gunmen, with other fleeing Israelis following behind him.
The people Ziadna carried to safety were Jewish Israelis, while his own Bedouin community was suffering murder and abduction in the same assault. Speaking to Israel Radio during Oct. 7 commemorations, he explained his decision in words that deserve to resonate far beyond the immediate story of his heroism: “I could have turned around and did a U-turn, but my conscience wouldn’t let me. I am a human being first. We have to live together in this very fine country of ours.”
The election, of course, will be decided by parliamentary arithmetic rather than inspiring anecdotes, and the stakes extend well beyond the composition of the next coalition.
Consider the government’s continuing failure to confront Jewish terrorism in the West Bank, where extremist settlers have now assaulted an American journalist and European diplomats in successive days. Heidi Levine, a Washington Post photographer whom I have known for decades, was brutally beaten while covering the Palestinian olive harvest, suffering injuries requiring surgery.
The following day, settlers attacked European diplomats and a French mayor near the Christian village of Taybeh. Netanyahu’s response was to question the evidence, emphasize the diplomats’ failure to coordinate with the army and suggest a campaign to smear settlers. Such indulgence of violent extremists disgraces Israel and accelerates its international isolation.
Trump’s endorsement this weekend of Netanyahu may influence some voters, but the fundamental choices belong to Israelis.
Let’s hope they are more thoughtful than to listen to the U.S. president and reelect a leader who would endanger lives by continuing to block an Oct. 7 inquiry, redouble efforts to instill an elected dictatorship, continue to absolve the Haredim of military duty, do nothing to stem the disgrace of Jewish terrorism, and hasten the onset of global economic sanctions upon the Jewish state.
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Bob Dylan is changing his lyrics and his set list; what is he trying to tell us?
Nobel Prize-winning rock poet Bob Dylan once famously wrote, “You don’t need a weatherman to know which way the wind blows” (in his 1965 song “Subterranean Homesick Blues”). That may have formerly been the case, but it didn’t stop Dylan from kicking off his “Lights of Autumn Tour” in Oslo on Saturday, Oct. 17, with a setlist chock full of warnings about floods and extreme weather — a veritable apocalypse of natural disasters. He even rewrote some lines in one of his most famous and beloved songs, “Tangled Up in Blue,” to make the weather a new character in the song.
Playing “Tangled Up in Blue” in concert for the first time since 2018, Dylan revised a few verses. Where he originally sang “I had a job in the great north woods working as a cook for a spell” to kick off the third verse, Dylan instead sang “Way up in the frozen woods, teardrops touch the sky / The leaves are falling one by one, and the moments passing by,” in keeping with the “Lights of Autumn” theme. (It should be noted that Dylan has been rewriting and changing the lyrics to “Tangled” at least since 1984, when he also included the song on his opening concert of a European tour.) “Way up in the frozen woods” may also refer to Dylan’s hometown of Hibbing, Minnesota, which is so far north that you can practically see Canada from there.
On Saturday, Dylan continued to rewrite that third verse with the line “Sometimes I get so tired, sometimes I’m getting away / Lucky you found another, tomorrow’s another day.” In a clever twist, Dylan inserts the new word “lucky” into the number, which recalls the phrase “I can’t help it if I’m lucky” from the song “Idiot Wind,” also found on the 1975 album Blood on the Tracks where “Tangled Up in Blue” originated. “Lucky” also resurfaced as a cryptic moniker for Dylan himself when, in the superstar group the Traveling Wilburys that included George Harrison, Tom Petty, and Roy Orbison — all of whom took new names ending in “Wilbury” — Dylan opted for “Lucky Wilbury.” He can’t help it, indeed!
Dylan kicked off another rewritten verse with the phrase, “Things were gettin’ to cost too much,” leaving one to wonder if this was a pre-midterm election reference to the state of the U.S. economy and therefore an implicit criticism of the MAGA leader and his acolytes. Dylan also revised the music somewhat, slowing the tempo of what was once a mid-tempo rocker to a rubato ballad; he also inserted a minor chord that doesn’t exist in the original.
As noted, Dylan’s 19-song setlist included copious references to weather disasters. “The Man in the Long Black Coast” opens with the line “Crickets are chirpin’, the water is high,” and refers to trees that are “bent over backwards from a hurricane breeze.” The aptly titled “Crash on the Levee (Down in the Flood),” which he performed for the first time in over two decades, includes the lines:
Crash on the levee, mama
Water’s gonna overflow
Swamp’s gonna rise
No boat’s gonna row….
If you go down in the flood
It’s gonna be your own fault…”
Even Dylan’s choice of cover tunes seemed oriented toward the apocalyptic theme. For the first time ever, Dylan sang a Randy Newman song in concert. Keeping with the flood theme, he chose Newman’s “Louisiana 1927,” which recounts one of the worst floods ever to strike the U.S.
What’s happened down here is that the wind have changed
Clouds roll in from the north, and it starts to rain
Rained real hard, it rained for a real long time
Six feet of water in the streets of Evangeline
River rose all day, the river rose all night
Some people got lost in the flood, some people got away all right
Dylan also covered “Share Your Love” — originally recorded by Bobby “Blue” Bland in 1963 but also recorded and performed by Dylan’s former backup group, The Band — which kicks off with the line “Well, it’s an ill wind that blows no good.”
But Dylan didn’t have to go far from his own catalog to rack up mentions of climate insanity. He performed “Tryin’ to Get to Heaven,” which includes the lines “The air is getting hotter, there’s a rumbling in the skies / I’ve been wading through the high muddy water, with the heat rising in my eyes.” In “You Ain’t Goin’ Nowhere,” Dylan sang, “Clouds so swift, rain won’t lift / Gate won’t close, railings froze / Get your mind off wintertime, you ain’t goin’ nowhere.” And on “I’ve Made Up My Mind to Give Myself to You,” the seasonally appropriate narrator says, “I saw the first fall of snow, I saw the flowers come and go.”
Dylan’s tour continues tonight (Oct. 19) in Gothenburg, Sweden, before making its way through Denmark, Germany, Belgium, Switzerland, Italy, Slovenia, and Austria, and concluding in the UK in November and early December. The forecast for Sweden tonight is clear, but later in the week, the weather report says there’s a chance of a hard rain.
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