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Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor

(New York Jewish Week) — Bob Gottlieb, who as editor-in-chief of Simon & Schuster, Alfred A. Knopf and The New Yorker ushered into print some of the 20th-century’s most accomplished writers — Nora Ephron, Toni Morrison, Salman Rushdie, John Cheever and Ray Bradbury, to name a few — believes editing is a service job, one that should go unnoticed by the reader. 

And yet, it is the relationship between editor and writer that his daughter Lizzie Gottlieb, a documentary filmmaker, explores in her latest film, “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” which premiered at the Tribeca Film Festival in 2022 and is now screening at theaters across the country. 

Lizzie’s documentary sets out to explore the sometimes tense but ultimately caring relationship between her father, Bob, and one of his longest running authors, Robert Caro, who over the course of 50 years has produced “only” five major books: “The Power Broker,” a classic biography of urban planner Robert Moses, and four volumes of “The Years of Lyndon B. Johnson.”

Jews born and raised in Manhattan, Caro and Gottlieb have worked together since Gottlieb helped cut 350,000 words out of the first draft of “The Power Broker,” bringing it down to a book that ultimately ran 1,338 pages when it was published in 1974. 

The thing they squabble over most often? Semicolons, still. Or, maybe, Caro’s overuse of the word “looms.”

The film, seven years in the making, takes on the ways Moses shaped New York City, the mysteries of LBJ’s political power, the sausage-making of bestselling books and the idiosyncrasies of two workaholics. It is also a story of two now elderly men — Caro is 87, Gottlieb is 91 — in what Bob Gottlieb calls an “actuarial” contest to finish Caro’s highly anticipated fifth volume of his Johnson biography. 

“My dad and I are very close. We’re in constant contact with each other. If something funny happens, I call my dad. If something sad or confusing happens, I’ll call him. We’re just in each other’s lives all the time, so I didn’t feel that there was a secret I needed to uncover or something unexamined in our relationship,” said director Lizzie Gottlieb, who also teaches documentary filmmaking at the New York Film Academy. 

“But the one thing I really knew nothing about in his life was his relationship with Bob Caro,” she said. “Because it was so different from anything else, and it was so kind of private. So really, the whole movie is the process of me understanding something that I didn’t understand before.” 

The New York Jewish Week recently caught up with Gottlieb to talk about the making of the film, what it was like growing up in a high-profile family and how Jewishness impacts the work of the two men.

This interview has been lightly edited for length and clarity.

Lizzie Gottlieb is a documentary filmmaker who previously directed “Today’s Man” (2008) and “Romeo Romeo” (2012).

New York Jewish Week: You’ve been working on this movie for seven years. When did you realize you needed to make this movie and how did it get from start to finish?

For a long time, people would say to me, “You should make a film about your father.” I have an incredible father. He’s done a lot of great things. He’s interesting and funny. But I just thought, a film whose message is “look how great my dad is” is not a movie that anybody wants to see. 

And then my father was given some award and Bob Caro was presenting the award. Bob Caro gave a speech about working with my dad over what was then 45 years. He talked about how he needs him, and he respects him and how they’re so productive. Then he started talking about their arguments. Somebody in the audience asked what they fought about and he said, “We have very different feelings about the semicolon.” Everybody erupted into laughs and it just hit me like a bolt of lightning. I thought, “This is the movie, this is the story.”

I wanted a story that had forward momentum and had something big at stake. A film about two men in their 60s who had done a lot of great stuff is not that interesting. But a film about two men who are hovering around 90 and are still in it, and engaged in their work, who have a dedication and passion and are in a race against time to finish their life’s work, felt really, really compelling to me.

People say, “Are you sure you should be wasting [Caro’s] time with a movie? He needs to be writing.” My producer Jen Small said we should put on the poster, “No Lyndon Johnson books were harmed in the making of this film.”

Do you think you had a perspective that made you the best person to try and talk about their relationship and document it, or was it challenging to make the leap of them being willing to open up to you?

There was definitely a pursuit of them. I called my father and I was like, “I have the best idea ever. I’m going to make a film about you and Robert Caro.” He said, “No way. Absolutely not. Never. It would not be good for our relationship.”

I just kept pestering and pestering and pestering him. Finally, he said I could call Bob Caro but he would say no and of course Bob Caro did initially say no. Then he said that he’d seen another film of mine and I could come and speak to him. Eventually, Caro said, “I’ve never seen a film about a writer and an editor, and I think this could be meaningful. I don’t think anyone’s ever seen this before.” So he let me start, but he had this kind of hilarious condition, which was that he didn’t want to ever appear in the same room as my father. That seemed funny and a little maddening and sort of endearing. It also seemed like an irresistible challenge to try to make a buddy film where they don’t appear in the same room as each other. A woman came to a screening recently and she said, “It’s a love story, and they don’t get together until the last scene.”

They both say that somehow the making of this movie has brought them closer together and that they have developed a real friendship after 50 years. Maybe just having to articulate what their relationship has meant to each other has made them appreciate it more.

What was it like to grow up in your household, with your father as this major editor and your mother (actress Maria Tucci) on Broadway? 

I grew up in a really incredible household. My mother’s an actress, my father’s a publisher and editor. Our house was this kind of vibrant, boisterous household that was always filled with eccentric, incredible people — actors and writers. My dad’s writers would come for dinner and then my mother would go off and do a play on Broadway and then come back at midnight and make another dinner. It was incredible. So I feel that both of their work was kind of integrated into our life and into our family. All of his writers were really like family members, except for Bob Caro, who never came over and who I never met. I think that there’s something particular and peculiar about their relationship that they needed to stay apart and only come together over work. I guess that was something that intrigued me and that’s part of why I wanted to make the movie.

“Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” (Courtesy Tribeca Film Festival)

The Jewishness in the film is a bit more implicit, though you discuss it when talking about their upbringings. How do you think their Jewish identities have impacted their work?

I don’t want to presume to speak for either of them about their Jewishness. I know they both very strongly identify as New York Jews, which probably means something slightly different to each of them, but I think it’s essential to their definitions of themselves. Their humor may be particularly Jewish as well. David Remnick uses a word at the end of the movie, where he says Caro needs to have “sitzfleisch” in order to finish the book. It’s this Yiddish [and German] word that means the ability to sit for long, long periods of time and apply yourself to something. I think that that is something that these two guys have: It’s almost a Talmudic focus on their craft, and without that they wouldn’t be who they are. So to the extent that that’s a Jewish quality, I think that’s essential to their being, to their achievements. There’s something like a Talmudic scholar in going over all these things, the industriousness and the empathy as well, this sort of looking at a thing from all sides and dedicating yourself to this pursuit.

Bonus question: You briefly show the various eccentric collections your dad has, including plastic handbags and kitschy Israeli record albums from the ’60s and ’70s. What is that about?

Yes, he has a lot of collections. He also has a collection of macramé owls. There are many that are not in the movie. Maybe that’s a Talmudic thing as well, like a deep dive into whatever it is that is interesting to him. He says that every subject gets more interesting the deeper you get into it. When something strikes him as charming or funny or curious, he goes all the way with it. My mother doesn’t love them. There’s a little bit of a power struggle there, but he wins. You grow up with something and you don’t really think about it. But I knew I had to find a way to put this in the movie. People kept saying it’s irrelevant, it’s to the side, but I knew I had to because it’s so weird and says so much about him.


The post Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor appeared first on Jewish Telegraphic Agency.

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Trump Touts ‘Peace Through Strength’ in State of the Union, but Results Are Mixed

US President Donald Trump gestures on the day he delivers the State of the Union address in the House Chamber of the US Capitol in Washington, DC, US, Feb. 24, 2026. Photo: REUTERS/NATHAN HOWARD

“Peace through strength” is a foreign policy motto that has served President Donald Trump well — when he has adhered to it.

In his hyper-partisan State of the Union address on Tuesday, there was a rare moment of strength through unity. When Trump noted the return of all Israeli hostages from Gaza, Republicans and Democrats alike — except for Congress’s most noxious members — joined in a standing ovation. Among the many conflicts Trump took credit for ending in his speech, the Gaza ceasefire is, perhaps, the one for which he deserves the most credit.

Trump praised Hamas for working to recover the bodies of the last captives despite the fact that a high-ranking Israeli military official said that the terrorist group did not assist in the recovery of the body of Ran Gvili, the final hostage rescued from Gaza.

Trump noted Gvili’s mother’s relief to bury her son. Speaker of the House Mike Johnson also humanized Israeli victims of violence by inviting as his guest the brother of an Israeli Embassy staffer gunned down in Washington, DC, while attending a Jewish event.

But what Israel watchers were looking for was a sign indicating whether Trump would strike Iran with military force. Not surprisingly, the president did not give the order from the dais or press a big red button to launch the operation. But he left his tea leaves out in the open.

Exaggerating somewhat, Trump noted the successful Operation Midnight Hammer from June 2025 that “obliterated Iran’s nuclear weapons program” but acknowledged that Iran is busy rebuilding its nuclear weapons capabilities.

Iranians may be forgiven for a certain skepticism about Trump’s intentions going forward — whether he will indeed display the strength needed to keep the peace. In January, at the height of the protests against the Islamic Republic, the US president told the Iranians demonstrating in the streets that “help is on its way” and warned Tehran to “stop killing protesters.” But the Islamic Republic drowned Trump’s red line in a sea of its citizens’ blood.

In the weeks leading up to the State of the Union, the US military moved two aircraft carrier strike groups into the region and landed a group of F-22 Raptor jets in Israel — a lot of firepower. But to justify an attack, Trump wants to demonstrate that he has exhausted the diplomatic route.

Noting the negotiations with Iran, Trump declared, “My preference is to solve this problem through diplomacy.” But, Trump stated, the Iranians haven’t forsworn nuclear weapons. Trump additionally mentioned the Islamic Republic’s ballistic missile program and its support of terrorist proxies as causes for concern.

Trump has also undermined his mantra through his unwillingness to seriously challenge Russia to end its aggression in Ukraine during his second term, let alone within the 24 hours he promised on the campaign trail.

During his State of the Union address, Trump said his administration is working “very hard” to end the war. But the effort has not yet borne fruit.

He lamented “the killing and slaughter between Russia and Ukraine, where 25,000 soldiers are dying each and every month.”

That was the only mention of the four-year-long war in nearly two hours of speaking. Trump appears frustrated that his Midas touch in international peacemaking has exceeded his grasp. But he partly has himself to blame for rushing headlong into negotiations without first maximizing military or economic pressure on Russia, attempting peace without demonstrating strength.

Trump could have proactively built negotiating leverage against Russian President Vladimir Putin by strengthening Ukraine’s ability to withstand the Russian onslaught while applying stronger sanctions on the Russian economy. Instead, he slashed military assistance for Kyiv and waited nine months to impose sanctions targeting Russian oil companies Rosneft and Lukoil. Even then, his administration has not enforced those sanctions, reducing their impact.

Trump rolled out the red carpet for Putin in August for what he thought would be a productive one-on-one meeting. Instead, Putin embarrassed the president by lecturing him on Russian history while refusing to back down from his maximalist demands.

Trump’s negotiators, Steve Witkoff and son-in-law Jared Kushner, have accomplished just as little in the same period. With Russia continuing to demand Ukrainian territory in the Donbas that its military cannot take by force, the White House has leaned on Ukraine to make territorial concessions, believing this will unlock peace. But that’s both unacceptable to Kyiv and insufficient to satisfy Putin, whose ultimate objective is to dominate Ukraine as a whole.

To his credit, Trump extracted a commitment from NATO members to spend 5 percent of their GDP toward defense and other security-related priorities, improving burden sharing. But Washington has added needless strain to transatlantic ties by meddling in European domestic politics, launching a self-defeating trade war, and attempting to bully Denmark into ceding Greenland to the United States.

As Trump put it in his speech, “We have to be strong, because hopefully we will seldom have to use this great power.” Washington can best deter its enemies when it applies its “peace through strength” approach forcefully and consistently and when it nurtures strong alliances rather than upending them.

David May is a research manager and senior research analyst at the Foundation for Defense of Democracies (FDD), where Dmitriy Shapiro is a research analyst and editor. For more analysis from the authors and FDD, please subscribe HERE. Follow David on X@DavidSamuelMay and Dmitriy @dmitriyshapiro. Follow FDD on X@FDD. FDD is a Washington, DC-based, nonpartisan research institute focusing on national security and foreign policy.

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Four Years After Russia’s Full-Scale Invasion, Peace Requires Leverage — Not Capitulation

Rescuers work at the site of the apartment building hit by a Russian drone during a Russian missile and drone strike, amid Russia’s attack on Ukraine, in Kyiv, Ukraine, Dec. 27, 2025. Photo: REUTERS/Viacheslav Ratynskyi

Four years ago, Russian armored columns pushed toward Kyiv, expecting a swift collapse of the Ukrainian state. That collapse never came.

Russia failed in its central objective. Kyiv did not fall. Ukraine’s government did not crumble. NATO did not fracture. What Vladimir Putin sought to prevent remains intact: a sovereign, Western-aligned Ukraine.

Russia today occupies roughly one-fifth of Ukraine’s territory, including Crimea and large swaths of the Donetsk, Luhansk, Zaporizhzhia, and Kherson regions. Much of that territory was seized either in 2014 or during the early months of the 2022 invasion. Since then, Moscow’s gains have been incremental and costly, measured in devastated villages rather than decisive breakthroughs.

Ukraine, despite facing a significant infantry shortage, continues to hold Russia to incremental gains while inflicting heavy casualties. The war has killed or wounded hundreds of thousands of soldiers and displaced millions of civilians. Cities such as Mariupol, Bakhmut, and Severodonetsk lie in ruins.

But the consequences of this war extend far beyond Ukraine’s borders. Europe has begun to rearm, addressing chronic underinvestment in defense since the end of the Cold War. As a result of the Russian invasion, Finland and Sweden joined NATO, doubling the alliance’s border with Russia, a strategic setback the Kremlin apparently didn’t anticipate. Energy markets have been reshaped as European states have largely weaned themselves off Russian oil and gas. Washington and its allies have been forced to rethink deterrence, force posture, and industrial capacity for sustained conflict.

In Ukraine, Putin faces a dilemma: he cannot impose the outcome he wants on the battlefield, yet he refuses to scale back his maximalist demands. So, the Kremlin has turned negotiations into another front in the war. Moscow has sought to use diplomacy to split the United States from Ukraine and Europe and enlist US help in forcing Kyiv to swallow Putin’s terms. The Kremlin demands that Ukraine cede the remainder of its eastern Donbas region, abandon its aspirations of joining NATO, accept limits on its military’s size and capabilities, and enshrine legal protections for Russian cultural influence. In short, Putin seeks to achieve through diplomacy what Russia has failed to secure decisively through force.

That approach only works if Moscow believes time is on its side. At present, the Kremlin appears to calculate that Western political divisions will deepen and that Russia can eventually exhaust Ukraine’s resistance. Until Putin’s calculus changes, diplomacy without leverage will not moderate Russian objectives. It will entrench them.

Shifting that calculation requires raising the cost of continued aggression and making Putin understand that neither Western will nor Ukrainian resistance will break. The United States retains significant tools to do so. Rather than slashing military assistance for Kyiv as the Trump administration has done, additional support can help Ukraine increase the price Russia pays for its battlefield advances. Strictly enforcing and building upon existing sanctions, particularly on the energy revenues that finance the war, can tighten economic pressure on the Kremlin.

Pressure, steadily applied, can shape negotiating behavior. Concessions offered prematurely are counterproductive. By leaning on Kyiv to bend to Moscow’s demands, Washington risks reinforcing Kremlin intransigence. And by rushing into negotiations without first establishing leverage, the Trump administration wasted valuable time.

Ending the war is a worthy objective. But the terms matter. A settlement that emboldens Russian revanchism or merely grants Moscow time to rearm for a follow-on war would damage US interests — with implications extending well beyond Ukraine. It would undermine the credibility of US security guarantees, destabilize Europe’s security architecture, and shift American strategic bandwidth away from higher-priority theaters.

Four years into this war, the lesson is not that diplomacy is futile. It is that diplomacy must be facilitated with strength. The United States still possesses the tools to create that leverage. Using them is not escalation. It’s smart negotiating.

Keti Korkiya is a research analyst in the Russia Program at the Foundation for Defense of Democracies (FDD).

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The Jewish Audacity to Have Vision Against All Odds

Rabbi Yosef Shlomo Kahaneman in June 1953. Photo: Phto Birnfeld, Tel Aviv / National Library of Israel, Schwadron collection via Wikimedia Commons

We have all suffered the frustration of dealing with construction delays. But the news this week out of Spain should give us all pause. In Barcelona, cranes gently hoisted the final 12-ton section into place completing the central tower of the Sagrada Família cathedral, bringing the structure to its full height of 172.5 meters and officially making it the tallest church in the world. The construction project has finally been completed … after 144 years.

You read that right. Ground was broken in 1882. A year later, the eccentric architect Antoni Gaudí began the project in earnest. He devoted the remainder of his life to Sagrada Família, and died a century ago, in 1926, with less than a quarter of it built.

Wars intervened. Funding evaporated. Portions of his original models were destroyed. George Orwell dismissed it as “one of the most hideous buildings in the world,” and remarked wryly that the anarchists who controlled Barcelona while he lived there showed poor taste in not blowing it up.

And yet, finally, this week, crowds gathered to watch as cranes completed a vision that originated in the 19th century. It is hard to think of anything more bizarre in our age of instant results and overnight success than a project that spans nearly a century and a half — except perhaps the audacity of the man who designed it knowing full well he would never live to see it finished.

Gaudí once remarked, almost casually, “My client is not in a hurry,” meaning God. It was a line delivered with a shrug, but it contained his entire philosophy. What Gaudí saw in his mind’s eye would emerge, and he knew it.

What makes the story so extraordinary is that Gaudí was not sketching fantasy in the vague hope that some future engineer would figure out how to put it all together.

Gaudí constructed meticulous scale models. He calculated load-bearing curves with obsessive care. He suspended chains from ceilings and used mirrors to study how gravity naturally shaped arches, effectively reverse-engineering physics long before computer modeling made such things easy.

His vision was undeniably romantic — but it was also rigorously disciplined. He imagined something magnificent, and then he subjected that imagination to mathematics, materials, and method. He was planning, deliberately and patiently, toward a future he knew with absolute certainty he would never live to see.

The Jewish people understand that kind of vision very well. Amid the Second World War, as European Jewish life lay in smoking ruins and every yeshivah had been obliterated together with their students and rabbinic faculty, one man in Eretz Yisrael began speaking about the future in a way that made some of his contemporaries quietly wonder whether grief had unhinged him.

His name was Rabbi Yosef Shlomo Kahaneman, but he is better known as the Ponevezher Rav. He managed to escape the inferno of Europe, but his community in Ponevezh had been annihilated, along with his beloved yeshiva — once one of the crown jewels of prewar Lithuania.

The Ponevezher Rav’s world had been erased. Most people in his position would have focused on survival, on securing a modest foothold in a fragile new country, on mourning what could never be restored. Instead, he focused on rebuilding — not cautiously, but on a scale that seemed to defy the broken reality around him.

One day in 1944, even as the Holocaust still raged and the fate of millions hung in the balance, Rav Kahaneman climbed a barren hill in Bnei Brak and declared that he intended to build the greatest yeshiva in the world.

And then, astonishingly, he began raising funds. People thought he had lost his mind. There were barely any serious yeshiva students in Eretz Yisrael at the time. The economy was fragile. The British Mandate was unstable. Arab opposition to Jewish statehood was intensifying by the day. The idea of constructing a vast Torah citadel under those conditions felt detached from reality, almost delusional.

But the building went up anyway — stone by stone, floor by floor — until a grand edifice crowned the hill. When it opened, the cavernous beit midrash stood largely empty. A handful of students sat in a corner learning Gemara in a vast space designed for over a thousand yeshiva boys.

The image must have been surreal: a monumental structure with barely enough students to fill a corner. As it was going up, someone had asked the Ponevezher Rav whether this enormous building was not, perhaps, a touch ambitious. Would it not be wiser to start modestly and expand later?

His response has echoed through the decades: You do not build a small yeshiva and hope it becomes great. You build a great yeshiva — and then you fill it. 

He could already see what others could not yet see — generations of students, the hum of Torah, and the glorious restoration of what was destroyed. Because the vision in his mind was so vivid, for him it wasn’t a vision; it was reality. And in time, it became reality.

It is precisely this energy that pulses through the Haftarah for Parshat Tetzaveh (Ez. 43:10–27), which contains one of Ezekiel’s most remarkable prophecies. He is not standing in bustling Jerusalem. He is in exile. The First Temple has been destroyed, its vessels looted, its glory extinguished, and the Jewish nation has been dragged to Babylonia in chains. The present is bleak, and the future seems hopeless.

And yet, in that very setting, God instructs Ezekiel to talk to the people about the Temple to be rebuilt in Jerusalem. The prophecy is dazzling, comprising a meticulous blueprint for the Temple, down to the smallest detail. We are given architectural plans, dimensions, measurements, and procedures, along with a seven-day dedication sequence laid out with methodical clarity.

Can you imagine how this must have sounded to a beleaguered nation whose hopes for revival could easily have been dismissed as delusional? They are sitting by the rivers of Babylon, mourning what has been lost — and the prophet is discussing the floor plan of a Temple that does not yet exist. It borders on ridiculous.

But that is exactly the point. When you can picture the future clearly enough — when you can measure it, describe it, and it vividly inhabits your imagination — you begin, quietly but powerfully, to live differently in the present.

Gaudí did not live to see his church completed, but the clarity of his plans ensured that generations of architects, artisans, and engineers could continue his work long after he was gone. The Ponevezher Rav did not know how many students would one day fill his massive yeshiva, but his refusal to think small created the conditions in which greatness could take root.

Ezekiel’s generation did not rebuild the Temple, but they were handed something powerful: a design that made hope structured and concrete rather than sentimental and abstract. There is a profound difference between fantasy and vision. Fantasy floats, untethered from reality, comforting but meaningless. Vision, by contrast, submits itself to measurement. It accepts the discipline of detail. And most importantly, it draws plans.

In our own lives, we often hesitate to articulate what we truly hope for because we are afraid it may never materialize. We temper our ambitions, soften our aspirations, and downsize our dreams in order to shield ourselves from disappointment. We build small because small feels safer.

But Judaism has never been a small-building civilization. Three times a day we pray for the rebuilding of Jerusalem, in deliberate, specific language. It is blueprint before redemption. The Jewish story is about seeing beyond the current constraints, and then proceeding methodically in quiet determination.

And one day — sometimes decades later, sometimes a century later — the cranes come down, the halls fill with voices, and the towers stand complete.

The author is a rabbi in Beverly Hills, California.

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