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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.
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Shifka, a new pita shop on the Bowery, aims to be the Chipotle of Israeli cuisine
Fans of Sami & Susu, the Mediterranean-inspired Lower East Side wine bar and restaurant that opened during the pandemic, will be happy to know that its Jewish owners have opened a lower priced, more casual spinoff just a few blocks away.
Shifka at 324 Bowery offers elevated Israeli-style street food — like pita stuffed with schnitzel, Yemenite hot sauce, pickles, hot pepper and red cabbage, drizzled with creamy Har Bracha tahini.
Shifka is named after the spicy, light green pickled pepper that’s a popular condiment at falafel shops across Israel. “It was supposed to be called The Pita Shop, but you can’t trademark that name — it’s too general,” said Amir Nathan, 39, one of Shifka’s store’s four owners and a co-founder of Sami & Susu. “I said, why don’t we call it after the pepper, like Chipotle. I like names that trigger curiosity. You need to think about the experience that you are about to have.”
Nearly a half-decade in the making — Nathan and his partner, executive chef Jordan Anderson, conducted years of pita sandwich experiments at Sami & Susu — Shifka opened its doors on Oct. 14, just after a fragile ceasefire between Israel and Hamas in Gaza began.
Throughout the development of Shifka, Nathan said that he and his partners were undeterred about opening another Israeli restaurant during a time of heightened antisemitism in New York. “When I see a crisis, I decide to do something positive,” said Nathan, who was born and raised in Beersheba, in southern Israel. “Opening Sami & Susu during the pandemic was a big one. And since Oct. 7, we emphasize more our Israeli and Jewish identity with the food that we do.”
Last winter, Nathan and Anderson took a “R&D trip” to Israel together. The goal, said Nathan, was to share Israeli cuisine with his partner, who was raised Jewish in New Jersey and had never visited Israel before.
“We went to classic pita shops in Israel but also toured the ASIF Culinary Institute and Arabic restaurants,” Nathan said. “How does a pita shop in Israel operate? How do they organize and order? Let’s be up to date with what is happening in the new generation of restaurants. It was a good introduction. We went to Akko to eat hummus and to a Druze restaurant in the north — all of the staples that together make this cuisine what it is.”
Nathan believes that their wide-ranging trip gave Anderson a better understanding of the flavors of the Middle East.
“Baguette, harissa, preserved lemon, hard-boiled egg — a Tunisian sandwich is what I ate in my school cafeteria in Beersheba,” Nathan said. “When I tried to explain to Jordan the idea behind it — now when he saw it in Machane Yehuda Market he said, ‘Wow, this is where it comes from.’ He saw food from Iraq to Yemen to East Jerusalem. The idea that a mash of those cultures can work together actually clicked.”
They also visited two restaurants that Anderson had read about: HaBasta, near the Carmel Market in Tel Aviv and known for the freshness and seasonality of its dishes, and HaKatan, a seafood restaurant in Tel Aviv’s Levinsky Market.
“These chefs are cooking like me,” Anderson, who has a French culinary background, said of his new inspiration.
“We do a lot of upscale food at Sami & Susu,” the 33-year-old added. “It’s refreshing to do sandwiches and fast casual and spread your mind that way.”
At Sami & Susu, the menu is seasonal and changes eight times a year. The menu at Shifka, by contrast, is streamlined and stable. Customers choose from stuffed pita sandwiches and bowls with an option of rice, freekeh — an ancient Middle Eastern grain imported from Israel — and or salad as its base. As for proteins, options include chicken marinated in yogurt, lamb kebabs drizzled with amba and shrimp served with tzatziki, roasted red peppers and red cabbage.
Of course, you can also order shifka peppers at Shifka; served as a side dish ($2), they are imported from Israel. Other sides include french fries coated in zaatar ($8), as well as muhammara, a walnut and roasted red pepper spread, or matbucha, a roasted tomato and smoked paprika salad ($8 each). Alcoholic beverages and dessert — like creamy, nutty soft-serve ice cream made with Israeli tahini ($8) — are on offer, too.
Nathan said he and his partners considered using kosher meat but ultimately decided it was too costly. “Kosher is part of our heritage and history, but it’s not the only way,” he said. “What we do here is not traditional. I hope that people see it as a voice of our new generation of Jews all over the world.”
He added: “We’re going to do breakfast here at some point, and we will have bacon, egg and cheese bourekas and it’s phenomenal. And a shakshuka in a pita — that’s how we want to eat.”
The exterior of Shifka, an new Israeli pita sandwich shop at 324 Bowery. (Courtesy of Shifka)
More than “just” an Israeli restaurant, Nathan stresses that Shifka’s influences are far flung. “Obviously, I’m from Israel but the influences are from all around,” he said. “We have tzatziki in a pita. We have lamb kebab, a hybrid of Romanian kebab combined with Yemenite spices. It is not just Israeli.”
Nonetheless, Nathan said that Sami & Susu — which garnered a Michelin Bib Gourmand award in 2022, 2023 and 2024 — has been subject to some anti-Israel vandalism during the two-year war between Israel and Gaza.
“We got tagged a couple of times,” he said. “People sprayed on our window.”
And yet, Nathan and Anderson say that the war in Gaza impacted their business in an unexpectedly good way.
“It actually gave us more business I think,” Nathan said. “More Jews are coming to Sami & Susu after Oct. 7. Hipster couples from Fort Greene to Upper West Siders. Maybe they are looking for that kind of food — I call it Mediterranean because it is actually not meant to be just Israeli but food of the Diaspora.”
He added: “Israel, as much as I love it, is not the only heritage we have as Jews. We have a long history before the country existed.”
Since its opening three weeks ago, Shifka has garnered rave reviews. According to the Infatuation, “Shifka makes lunchtime in NOHO so much better,” while Grub Street named Shifka to its list of the city’s best new restaurants.
“Knock on wood, said Nathan. “We are fortunate to have a good beginning on this project.”
And like Chipotle — which is named for a smoked, dried jalapeno pepper and operates 3,700 restaurants around the globe — Nathan and his partners are hoping to scale Shifka one day. Unlike the fast-casual juggernaut, which is primarily owned by institutional investors, Shifka’s partners’ plans are more modest.
“We are looking for small growth, not duplicating it dozens of times. We are planning to expand Shifka and move Sami & Susu to a bigger location,” Nathan said. “We never prevent ourselves from dreaming big and maybe expanding to other cities.”
For now, though, the focus is on the Bowery location. On a recent morning, Shifka’s kitchen was abuzz as staffers busily filled dozens of lunch orders for local businesses. By lunchtime, “the whole place is packed,” Anderson said. “Delicious food, fair prices, creative. No fear about all the hate that is going around the city right now.”
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Hezbollah Rejects Israel-Lebanon Talks, Reaffirms Refusal to Disarm as Tensions Escalate Along Border
Smoke rises after Israeli strikes following Israeli military’s evacuation orders, in Tayr Debba, southern Lebanon, Nov. 6, 2025. Photo: REUTERS/Ali Hankir
Hezbollah has rejected any talks with Israel and reaffirmed its refusal to disarm, even as the Jewish state ramps up military operations in southern Lebanon amid rising border tensions.
On Thursday, the Iran-backed Lebanese terrorist group condemned the prospect of negotiations between Lebanon and Israel, while reaffirming its refusal to disarm and claiming it has “a legitimate right to resist [Israeli] occupation.”
In an open letter to Lebanese President Joseph Aoun, Prime Minister Nawaf Salam, and Parliament Speaker Nabih Berri, Hezbollah called for prioritizing efforts to pressure Israel into complying with the US-brokered ceasefire negotiated by the countries last year rather than “being drawn into political negotiations with the Zionist enemy.”
“Any attempt at political negotiations with Israel does not serve Lebanon’s national interest,” the letter read.
“The weapons that defended Lebanon will not be up for negotiation and will remain an integral part of the country’s national defense strategy,” it continued, with Hezbollah seemingly depicting itself as the protector of Lebanese sovereignty.
US and Israel officials have been pressuring the Lebanese government to enter direct negotiations with the Jewish state, with Egypt offering to mediate as fears of renewed conflict in the region intensify.
Hezbollah’s warning came as the Israel Defense Forces (IDF) carried out its latest airstrikes against the terrorist group, describing it as a response to ceasefire violations.
In a press release, the Israeli military confirmed it carried out a strike in southern Lebanon, targeting operatives at a Hezbollah site, which the IDF said was used to “produce equipment used by the organization to restore terror infrastructure.”
Under last year’s ceasefire agreement, the Lebanese government committed to disarm Hezbollah, which for years has wielded significant political and military influence across the country while maintaining significant terrorist infrastructure in southern Lebanon, which borders northern Israel. The deal was reached after Israel decimated much of Hezbollah’s leadership and military capabilities with an air and ground offensive following the Islamist group’s attacks on northern Israeli communities — which Hezbollah claimed were a show of solidarity with the Palestinian terrorist group Hamas amid the war in Gaza.
Hezbollah claimed in its letter on Thursday that “the government’s hasty decision regarding the monopoly of arms” enabled Israel to exploit the situation, making disarmament a prerequisite for halting what the group alleges are Israeli violations of the ceasefire.
“Disarmament should be discussed within a national framework and not as a response to a foreign demand or Israeli blackmail,” the letter read.
“We affirm our legitimate right to resist occupation and aggression, and to stand with our army and our people in defending our country’s sovereignty against an enemy that wages war on us, continues its attacks, and seeks to subjugate our state,” it continued.
New reports indicate that Hezbollah has been actively rebuilding its military capabilities, in violation of the ceasefire agreement with the Jewish state.
With support from Iran, the terrorist group has been intensifying efforts to bolster its military power, including the production and repair of weapons, smuggling of arms and cash through seaports and Syrian routes, recruitment and training, and the use of civilian infrastructure as a base and cover for its operations.
In recent weeks, Israel has conducted strikes targeting Hezbollah’s rearmament efforts, particularly south of the Litani River, where the group’s operatives have historically been most active against the Jewish state.
For years, Israel has demanded that Hezbollah be barred from carrying out activities south of the Litani, located roughly 15 miles from the Israeli border.
Earlier this year, Lebanese officials agreed to a US-backed disarmament plan, which called for the terrorist group to be fully disarmed within four months — by November — in exchange for Israel halting airstrikes and withdrawing troops from the five occupied positions in the country’s southern region.
The Lebanese government is now facing mounting pressure from Israeli and US officials to disarm Hezbollah and establish a state monopoly on weapons.
Meanwhile, the Iran-backed terrorist group has repeatedly defied international calls to disarm, even threatening protests and civil unrest if the government tries to enforce control over its weapons.
Since the Lebanese government has so far been unable to successfully implement the US-backed disarmament plan, Israeli Defense Minister Israel Katz last week accused Aoun of “dragging his feet” on this issue.
“The Lebanese government’s commitment to disarm Hezbollah and remove it from southern Lebanon must be implemented,” Katz said. “Maximum enforcement will continue and even intensify — we will not allow any threat to the residents of the north.”
Israeli Prime Minister Benjamin Netanyahu also warned that Israel would exercise its right to self-defense under the ceasefire agreement if Lebanon failed to disarm the terrorist group.
“We expect the Lebanese government to uphold its commitments, namely, to disarm Hezbollah. But it’s clear that we’ll exercise our right to self-defense as stipulated in the ceasefire terms,” the Israeli leader said. “We won’t let Lebanon become a renewed front against us, and we’ll do what’s necessary.”
For his part, Aoun criticized Israel for escalating strikes after he expressed willingness to negotiate, accusing it of hindering prospects for negotiations while also directing the Lebanese army to confront IDF incursions along the southern border.
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Artist Won’t ‘Surrender to Extremism’ After Mural of Hamas Victims Shiri Bibas, Two Sons Defaced Again in Milan
A look at the mural “October 7, The Hostages” before (left) and after (right) it was vandalized for a second time. Photo: Provided
Italian contemporary pop artist and activist AleXsandro Palombo spoke to The Algemeiner on Thursday about the “antisemitic hatred” that fueled the second vandalism of his mural in Milan, Italy, honoring Shiri Bibas and her two young sons – all three of whom were murdered by Hamas terrorists in the Gaza Strip after being taken as hostages from Israel.
Shiri’s face in the mural was recently covered with white paint, as was the Star of David on the Israeli flag that is draped over her two children Kfir and Ariel, who were 4 and nine months old, respectively, when taken hostage on Oct. 7, 2023, along with their mother. The mural shows Shiri, 32, holding her two sons. The three of them were kidnapped from Kibbutz Nir Oz when Hamas-led terrorists went on a deadly rampage across southern Israel, and they were later killed in captivity in Gaza.
Palombo titled the mural “October 7, The Hostages.” It is featured in the center of Milan, outside the Qatari consulate, and just a few steps from the famous Via Montenapoleone shopping area. The mural was first vandalized days after it was unveiled in October during an event commemorating the two-year anniversary of the Oct. 7 terrorist attack. French philosopher Bernard-Henri Lévy described the vandalism as “a vile gesture against the memory of the victims.”
“These works are testimonies; they carry memory and truth within them,” Palombo told The Algemeiner on Thursday following the most recent vandalism of his mural dedicated to the Bibas family. “Those who destroy them aren’t just targeting art; they’re trying to erase its meaning, its message, its resistance. It’s a deliberate act meant to extinguish what stands up to hatred, to intimidate anyone who defends freedom of thought and to rewrite history for their own advantage.” He added that stopping his art “would mean surrendering to extremism.”
“The works dedicated to the Bibas family, like all those destroyed by antisemitic hatred, must continue to live,” he said. “Every time art is silenced, the conscience of our civilization is struck. Defending artistic freedom means defending the dignity and memory of the West.”
Yarden Bibas – Shiri’s husband and the father of Ariel and Kfir — was separately kidnapped from Israel by Hamas-led terrorists on Oct. 7, 2023. He survived captivity and is the only living member of his immediate family.
Other murals by Palombo that have been dedicated to the Holocaust, antisemitism, or the deadly terrorist attack in October 2023 have all been vandalized in the past, including murals depicting Auschwitz survivors and another featuring a survivor of the Nova music festival. Even a mural created in support of Iranian women protesters was vandalized. Palombo told The Algemeiner he has received hundreds of death threats because of his artwork, mostly from “extremist online communities and radicalized pro-Palestinian movements.” He believes the vandalism of his work tied to the Holocaust, Israel, or antisemitism “is part of a deliberate strategy that uses antisemitism as a weapon to spread fear and destabilize democracies from within.”
“Today, anti-Jewish hatred is no longer just a social or cultural phenomenon; it has become a tool of hybrid warfare, employed by hostile networks to manipulate public opinion and undermine the very foundations of freedom and civil coexistence,” he added. “To attack art is to attack freedom of expression and erase collective memory. It’s a way to weaken democratic consciousness and pave the way for fanaticism. Every defaced mural is not just an attack on an artwork; it’s an assault on the right to remember.”
The only murals tied to the Holocaust and antisemitism that have not been vandalized are those displayed in Rome after being acquired by the city’s Shoah Museum. Palombo explained that they are located near a police booth and in front of a synagogue, which has a constant armed guard stationed in front.
“It’s a paradox: In a Western democracy, art must be protected like a potential target, as if memory itself had become something to be defended by law enforcement,” he told The Algemeiner.