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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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Report: Khamenei Moved to Underground Bunker in Tehran
Iran’s Supreme Leader Ayatollah Ali Khamenei speaks in a televised message, after the ceasefire between Iran and Israel, in Tehran, Iran, June 26, 2025. Photo: Office of the Iranian Supreme Leader/WANA (West Asia News Agency)/Handout via REUTERS
i24 News – Amid tense expectation of US strike on key assets of the Islamic regime, Iran’s Supreme Leader Ali Khamenei was moved into a special underground bunker in Tehran, the Iran International website reported on Saturday.
The report further added that the supreme leader’s third son Masoud Khamenei has taken over day-to-day management of the leader’s office, functioning as the de facto main channel for coordination vis-à-vis the executive branches of the government and the security forces.
The report describes Khamenei’s hideout as a “fortified site with interconnected tunnels.”
On Thursday US President Donald Trump said that a “massive” naval force was heading toward Iran.
“We have a lot of ships going that direction just in case. We have a big flotilla going in that direction. And we’ll see what happens,” Trump told reporters.
“We have an armada. We have a massive fleet heading in that direction, and maybe we won’t have to use it. We’ll see,” Trump added.
The USS Abraham Lincoln, along with three destroyers, was spotted making its way to the Middle East from Asia, according to ship-tracking data.
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Israel, Syria to Finalize US-Brokered Security Deal ‘Soon,’ as ‘Developments Accelerate Noticeably’
Syria’s interim President Ahmed al-Sharaa speaks during a Ministerial formation of the government of the Syrian Arab Republic, in Damascus, Syria, March 29, 2025. Photo: REUTERS/Khalil Ashawi
i24 News – Syrian and Israeli officials are expected to meet soon under US mediation, perhaps in Paris, to finalize a security agreement between Damascus and Jerusalem, a source close to Syrian President Ahmed al-Sharaa told i24NEWS on Saturday.
According to the Syrian source, the talks will also focus on various potential joint strategic and economic projects in the buffer zones between the two countries.
“There is very optimistic talk suggesting the possibility of even opening an Israeli embassy in Damascus before the end of this year, given the significant progress in the prospect of Syria joining the Abraham Accords,” the source said.
The original Syrian plan was limited to a security agreement and the opening of an Israeli liaison office in Damascus without diplomatic status, the source tells me. “But developments are accelerating noticeably under pressure from the United States, and specifically by President Trump, and amid growing Syrian openness.”
If Damascus manages to reach an integration agreement with the Druze in southern Syria, similar to its agreement with the Kurds in the northeast, and Israel commits to respecting Syria’s unity and territorial integrity, then al-Sharaa would be open to elevate the status of the agreement with Israel to more than just a security agreement, to also include diplomatic relations and an Israeli embassy in Damascus.
“The al-Sharaa government believes that a viable compromise to advance a peace process with Israel would include a 25-year lease for the Golan Heights, similar to the one Jordan previously signed with Israel over the border enclaves, turning it into a ‘Garden of Peace” of joint economic ventures,” the source said.
The source close to al-Sharaa also tells me that US President Trump is seeking to bring Israeli Prime Minister Netanyahu and President Al-Sharaa together for a peace agreement signing ceremony.
It should be noted that Israel has repeatedly rejected returning any part of the Golan Heights, let alone the entire territory.
On another front, the source stated that Damascus intends to adopt a new local administration system based on expanded administrative decentralization to enhance participation in local communities across all Syrian governorates.
According to the source, this solution would resolve persisting disputes with the Druze, Kurds, Alawites, and other minorities. A new Syrian government is expected to be formed within the next three months, the source added.
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What will become of the Dutch farm school that saved my father from the Nazis?
In North Holland, a grand community house rises above neighboring farms. Built in 1936 by students of Werkdorp Wieringermeer (Werkdorp means “work village”; Wieringermeer was the name of the township), the building held the dining room and classrooms of a Jewish farm school. A stunning example of Amsterdam School architecture, the Werkdorp’s brick and cobalt-blue facade dominates the polder, or land claimed from the sea.
Today, the land grows tulips. Nearby, Slootdorp (“Ditch Village”) honors the canals that carry the water away.
In 1939, the school sheltered 300 German-speaking Jewish students, including this reporter’s father, who arrived, his head shaved, on Jan. 4, from Buchenwald.

Why a Jewish farm school? In the 1930s, most young German and Austrian Jews were city dwellers and had no idea how to milk a cow, raise chickens, or plow land. But as the Nazis barred Jews from education and professions, farm laborers were the immigrants most wanted by the handful of countries accepting Jewish refugees.
Some 30 such training schools were established in Germany, modeled on the hachsharah throughout Europe that taught Jewish youth the skills to settle in what was then Palestine. The Werkdorp, the largest in Holland, was non-Zionist. Its objective was to send young farmers to any country that would take them.
Today, volunteers have assembled a grassroots museum that showcases the Werkdorp’s years, 1934 to 1941. Pinned to the walls inside are pictures taken by the Russian-American photographer Roman Vishniac, who visited in 1938, and by the Dutch photojournalist Willem van de Poll. They show students haying, plowing, feeding chickens, baking bread.

Also on the walls are images of the nearly 200 Werkdorpers who were not as lucky as my father. The Nazi official Klaus Barbie — who became known as the “Butcher of Lyon” for his harsh treatment of resistance fighters there — rounded up the Werkdorpers in 1941 and sent them east to concentration camps, where they were murdered.
A scroll of those victims’ names hangs near the entrance. In the huge kitchen, you can still see the kosher sinks, one tiled red and white for dishes for meat, the other black and white for dairy. Otherwise, the three floors of the great hall stand largely empty.
Protected from demolition by the Netherlands Agency for Cultural Heritage, the community house and its land have been owned since 2008 by Joep Karel who runs a private real estate company that builds housing. Karel pays for the building’s upkeep and opens it to cultural groups and schools.
But the developer has a grander plan. He wants to create a modern memorial center that tells the story of the Werkdorpers and the polder. To fund his venture, he would erect housing behind the community house, to be rented by migrant workers. In April 2020, the council of Hollands Kroon — the Crown of Holland, as the township is called today — approved such housing for 160 workers.
The organizers of the museum are uncertain: Will the project enhance their efforts, or thwart them?
A hero or a collaborator?
North Holland juts like the thumb of a right mitten into the North Sea. A decade before the community house was inaugurated in January 1937, the land beneath it was seabed. The first students, 11 boys and four girls, arrived in 1934 to live in barracks that had housed the polder’s builders. Their task: to build a school.
The farm school admitted refugees for a two-year course. Its purpose was to help them emigrate, the only way The Hague would allow the school to function. Residents spoke German; there was no need to learn the language of one’s temporary home.
Gertrude van Tijn, a leader of the Dutch Jewish refugees committee — tasked with finding countries that would accept thousands of Germans and Austrians forced to flee the Nazis — handled admissions. Most of the Werkdorp’s budget came from Dutch Jewish donors, with contributions from Jewish groups in Britain and America. Students’ families paid fees if they could.

The school was internationally recognized. James G. McDonald, the American high commissioner for refugees of the League of Nations, attended its opening ceremony. The legal scholar Norman Bentwich praised the village in The Manchester Guardian. Although the school was non-Zionist, Henrietta Szold, a leader of Youth Aliyah, brought 20 German teenagers there in 1936.
Werkdorp Wierengermeer helped at least 500 German and Austrian Jews, ages 15-25, escape the Nazi regime.
It was Van Tijn, a German Jew who’d married a Dutchman, who got my father, George Landecker, out of Buchenwald. He had been arrested in Frankfurt on Kristallnacht, the November 1938 pogrom, and sent east by train to Buchenwald.
In the camp he met his friends and teachers from Gross Breesen, a farm school in eastern Germany, from which he had graduated that May. Breesen was the Werkdorp’s sister farm school. By admitting the Breeseners and my father to the Werkdorp, Van Tijn got Dutch entry permits for all.
For the Gestapo in January 1939, such proof that a prisoner could leave Germany secured freedom.
Van Tijn saved thousands of young people like my father, but she worked with the Nazis to do so. After the war, historians and people seeking to repatriate Dutch Jews called her a collaborator. She moved to the United States and wrote a memoir, in which she criticized other Jewish leaders for their decisions under German rule. According to her biographer Bernard Wasserstein, she never published the memoir because she didn’t want to make money from describing the atrocities she had seen.
When my father arrived in 1939, the Werkdorpers were cultivating 150 acres — there was wheat, oats, rye, barley, and sugar beets for the animals: 60 cows, 40 sheep, and 12 workhorses. The residents raised chickens, grew vegetables, and baked their own bread. The school taught carpentry, welding and plumbing, skills I would see my father use, not always deftly, later as a dairy farmer in New York state. (Dad was a good farmer, but he was less than expert in all the other skills a farmer needs.)
My father got a visa to America and left Rotterdam on the steamship Veendam, arriving in New York on Feb. 5, 1940. Three months later, the Nazis invaded Holland, cutting off all routes of escape.
‘Their names should be spoken’
Over the decades, Wieringer residents have found ways to commemorate the residents who died.
Marieke Roos, then a board member of the Jewish Work Village Foundation, proposed a monument of their names. She raised funds and recruited volunteers. Completed in 2021, the memorial comprises 197 glass blocks embedded in a semicircle at the building’s gateway. They mirror the layout of the dorms, now long gone, which once embraced the rear of the community house. Each block commemorates a student, teacher, or family member deported and murdered. One honors Frits Ino de Vries (1939–43), killed at Auschwitz with his mother and sister, Mia Sara, who was 5.

Corien Hielkema, also from the foundation, teaches local middle schoolers about the Werkdorpers’ fate. Each student creates a poem, painting, or website about a Werkdorper because “their names should be spoken and their stories told,” she told me.
Rent from migrant workers may sound like an unusual way to fund a memorial center. But in Joep Karel’s plan, such housing would be built behind the community house, and would be reminiscent of the dormitories where my father lived. Hollands Kroon’s biggest exports are flowers, cultivated by workers from the eastern EU. The region desperately needs housing for these temporary workers. In 2024, the province gave Karel 115,000 Euros to start the project.
Joël Cahen, who chairs the fundraising for Karel’s Jewish Work Village Cultural Center, says that attracting tourists here won’t be easy — it’s a 45-minute drive from Amsterdam, “along a boring road,” he said. Nevertheless, he said he thinks Karel’s idea will work, though “it will take time.”
Some neighbors objected to housing migrant workers, Cahen said. They feared noise pollution, traffic and drugs. Months of legal delay produced a court decision in Karel’s favor, but by then construction costs had skyrocketed.
Now, Cahen said, Karel needs an investor. The developer did not answer a question about how that search is going, except to say, via Cahen, that he would break ground “as soon as possible.” Roos says she has been hearing “soon” for years.

And if the housing were to be completed and the workers arrived, where would they hang their laundry, store their recycling, hide their trash? It would be hard to hide the chaff of daily living on the site’s four acres. Who would visit such a memorial center, and how would the owner keep it running?
Those are legitimate questions, Cahen said. But “we need people to help us push this thing forward. This is a chance.”
Kees Ribbens, a senior researcher at the NIOD Institute for War, Holocaust and Genocide Studies, in Amsterdam, told me that the community house has no “comparable examples in the Netherlands.” It is a “special building,” and a memorial center “would certainly be appropriate.”
Most of the agricultural training centers that saved German Jewish youth have been destroyed or reused. The director’s house of a farm school in Ahlem, Germany, is now a museum. But it became the local Gestapo headquarters, so it also tells that story. The Ahlem school buildings are gone. Gross Breesen, now in Poland, is a fancy golf spa.
The Werkdorp is one of a very few farm schools in Europe whose original building is dedicated to its history.
What my father did and didn’t tell me
My father talked a lot about his first farm school, Breesen. Survivors from Breesen, in America and around the world, remained his closest friends.

Yet he mentioned his time in the Netherlands only once. My mother had served a Dutch cheese to some guests. Dad told us how he’d been hitchhiking in Holland with a friend, when a truck carrying Edam cheeses had picked them up. They rode in the truckbed, hungry, surrounded by giant cheese wheels.
It was such a slim memory. I assumed he had lived in Holland for a few weeks. I learned only recently that Werkdorp Wieringermeer had protected him from January 1939 until February 1940.
Now I think my father didn’t want to remember his Dutch year. Because like refugees today, everywhere, he was terrified.
Dad once told an interviewer how he’d read a memoir by a man who was arrested on Kristallnacht and transported by train to Buchenwald. My father realized, “That’s me. I did that too.” He had no memory of actually doing it at all.
The brain is good at shielding us from trauma. His year at Werkdorp Wieringermeer may have been like his train ride after Kristallnacht, a time he needed to forget. He was worrying about his parents and siblings, who would not escape Germany until November. (One brother, his wife, and toddler would not survive the war.) He was anxious about the U.S. visa the Breeseners had applied for as a group (they circumvented the American quota on Germans, another story). He had been forced to watch people hanged at Buchenwald for trying to escape.

Yet my father was an optimist when I knew him, and never dwelled on suffering. And I never thought, “I should ask about his experience in the Holocaust because I will want to write about it one day.”
So the only thing I knew about his experience in the Netherlands was that he’d hitched a ride in a truck full of cheese.
An hour’s drive beyond the Werkdorp from Amsterdam, there’s a memorial to the 102,000 people deported from the transit Kamp Westerbork and murdered during the Second World War. It draws 150,000 visitors annually. Cahen hopes the Werkdorp could attract 10,000.
Like Westerbork, the Werkdorp was a transit point — but with a key difference: Many of its residents were saved.
As the daughter of one of them, I hope the tension over the future of its community house will ease, and that someone will make a grand memorial center flourish there.
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