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A Golda Meir biopic starring Helen Mirren avoids politics. It premiered as Israel’s government faces widespread scrutiny.
(JTA) — When a film about a group of Israeli youths who visit former concentration camps in Poland premiered on Sunday at the Berlin Film Festival, its Israeli producer took the microphone after the screening to decry the state of his nation.
“The new far-right government that is in power is pushing fascist and racist laws,” said Yoav Roeh, a producer of “Ha’Mishlahat” (“Delegation”) on stage after the film’s premiere. He was referring to lawmakers in Israel’s government who have long histories of anti-Arab rhetoric and their new proposals to limit the power of the country’s Supreme Court, which critics at home and around the world deem a blow to Israel’s status as a democracy.
“Israel is committing suicide after 75 years of existence,” Roeh added.
The next day brought the premiere of “Golda,” a highly-anticipated Golda Meir biopic starring Oscar winner Helen Mirren about the former Israeli prime minister and her decisions during the 1973 Yom Kippur War. Hours earlier, Israel’s government took another step closer to passing its controversial judicial reforms, and when asked about the political situation, Mirren didn’t mince words.
“I think [Meir] would have been utterly horrified,” she told AFP. “It’s the rise of dictatorship and dictatorship was what has always been the enemy of people all over the world and she would recognize it as that.”
That was the heated backdrop for the debut of “Golda,” which will not hit U.S. theaters until August. But an onlooker wouldn’t know that from the film’s own introductory press conference with Mirren, director Guy Nattiv and other stars from the film. The headlines that have emerged from it have been dominated by the film’s place in the “Jewface” debate, about who should play Jewish characters on screen. Mirren is not Israeli or Jewish.
“Let’s say that we’re making a movie about Jesus Christ. Who’s going to play him?” Mirren’s co-star Lior Ashkenazi stepped in to answer in response to a journalist, eliciting laughter from the press corps.
The film is framed by Meir’s testimony to the Agranat Commission, which investigated the lead-up to the war. As the film shows through flashbacks, Meir appears to have not acted quickly enough on Mossad intelligence about a possible attack from Egyptian and Syrian forces. Israeli forces were surprised on the holiday and initially lost ground; both sides lost thousands of troops, and the war is seen as a major trauma in Israeli history — the moment when the state’s conception of its military superiority over its Arab neighbors was shattered. The film is claustrophobic, shot mostly indoors — in bunkers, hospital rooms and government offices — and offers an apt visual encapsulation of the loss the war would bring.
Mirren walks the red carpet at the Berlin Film Festival, Feb. 20, 2023. She spent time on a kibbutz in 1967. (Courtesy of Berlinale)
Though Meir has historically been lionized as a tough female hero in the United States and in Jewish communities around the world (even non-Jewish soldiers in Ukraine took inspiration from her in the early days of the Russian invasion last year), her legacy is more complicated in Israel and the Palestinian territories. In addition to being associated with the trauma of the war for many Jewish Israelis, she is remembered as an inveterate enemy by Palestinians.
In recent years, the representation of Meir has shifted more favorably in Israel, said Meron Medzini, Meir’s former press secretary and one of her biographers. He said that historians have begun to view her favorably in comparison to some of the political leaders who followed her.
“I consider the film [‘Golda’] part of this effort to rehabilitate her name,” he told the Jewish Telegraphic Agency. “I think she is now gaining her rightful place in the history.”
“Golda” fits into Medzini’s narrative by emphasizing the intractability and pride of her Cabinet ministers as the prime reasons for Israel’s surprise. It affirms Meir’s honor by portraying her as attempting to protect the ministers from criticism — all men — and to promote national unity.
At the press conference, Nattiv gave the briefest of nods to Meir’s complex legacy but like Medzini compared her to Israel’s current slate of leaders, who he reserved brief criticism for.
“Golda is not a super clean character in this movie,” said Nattiv, who is best known for directing “Skin,” a 2018 film about a neo-Nazi. “She had her faults. She made mistakes. And she took responsibility, which leaders are not doing today.”
Meir has long enjoyed a kind of star status in the United States. She was interviewed by Barbra Streisand in 1978, close to the Israeli leader’s death from cancer, for a TV special on Israel’s 30th anniversary.
“She clearly is the great-grandmother of the Jewish people [in the special] and Streisand is very reverential toward her,” Tony Shaw, a history professor at the University of Hertfordshire and the author of “Hollywood and Israel: A History,” said about the Streisand interview. “She just comes across as very humble, slightly out-of-date, out-of-time.”
“Of course, it’s very different from what we now know Golda Meir was really like,” he added, referring to her strong character and political pragmatism, which the film seeks to convey.
Since William Gibson’s critically-panned 1977 play also titled “Golda,” there have been a number of representations of Meir. Most famous among them is Ingrid Bergman’s final performance in “Golda Meir,” a four-hour-long television biopic from 1982. That production “was very much in keeping with Hollywood’s treatment of Israel in that period,” said Shaw, “which was very sympathetic towards Golda Meir, towards Israel and the troubles it was having in the first 30 years of its life.” More recently, Meir appears in Steven Spielberg’s more ambivalent 2005 film “Munich,” in which she helps to recruit the film’s protagonist to track down the figures behind the 1972 Munich Olympics attacks.
Golda Meir meets with Israeli Defense Minister Moshe Dayan and troops on the Golan Heights during the Yom Kippur War, Oct. 21, 1973. (Ron Frenkel/GPO/Getty Images)
Nattiv’s work, which has received mixed early reviews, focuses on the war as reflected in Meir’s character, forgoing engagement with broader politics or history.
“My inspiration was ‘Das Boot,’ in the way that she is in the trenches,” said Nattiv, referencing the revered World War II movie from 1981 set in a German U-boat. “She is very alone in the mayhem of war around these men.”
“This is the Vietnam of Israel,” he explained. “It is a very tough and hard look at the war and every soldier that died…Golda takes it to her heart.”
Despite the “Jewface” questioning, Nattiv compared Mirren to an “aunt” figure who, for him, had the “Jewish chops to portray Golda.” Mirren explained to the AFP that she has long felt a connection to Israel and to Meir, especially after a stay on a kibbutz in 1967, not long after the Six-Day War, with a Jewish boyfriend.
“She was at her happiest on the kibbutz actually,” Mirren said. “Their idealism, their dream of the perfect world. And I did experience that which was great.”
Sanders Isaac Bernstein contributed reporting from Berlin.
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Senate rejects effort to rein in Trump’s power to fight Iran alongside Israel
(JTA) — The Senate late Wednesday rejected a measure that would have required President Donald Trump to get congressional approval to continue fighting against Iran.
The measure was initiated by Democrats, who have raised questions about the process by which Trump initiated the war alongside Israel on Saturday. The War Powers Act requires U.S. presidents to seek congressional approval for wars in advance or shortly after their start unless there is an imminent threat to the United States. Trump and his administration officials have given mixed signals about whether a threat was considered direct and imminent.
The vote took place along largely partisan lines, with two exceptions. Rand Paul, the Republican from Kentucky, who tends to oppose international intervention, backed the measure. John Fetterman, the pro-Israel Democrat from Pennsylvania, voted no.
The House is expected to vote on a similar measure today. The House also has a slim Republican majority.
The votes come as multiple polls have shown that a majority of Americans, about 60%, oppose U.S. participation in the war.
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Erich Wolfgang Korngold’s Broadway opus debuts in the U.S. — nearly 80 years late
In 1954, the Oscar-winning composer Erich Wolfgang Korngold staged a European homecoming with a new operetta. How this came to pass — and how his planned comeback failed to materialize — is even more convoluted than the piece’s farcical plot.
Korngold, a wunderkind and Jewish refugee from Vienna, first came to Hollywood to adapt Felix Mendelssohn’s music for Max Reinhardt’s 1935 film of A Midsummer Night’s Dream. Until then Korngold, a piano prodigy who began writing music at age 7 and had his first hit with a ballet he wrote at 11, had mostly composed for concert halls and opera houses. His ensuing career in Hollywood transformed film music by treating motion pictures as if they were “operas without singing.”
Korngold’s work on the swashbuckler Captain Blood, The Adventures of Robin Hood and later King’s Row (whose fanfare John Williams lifted for Star Wars) created a template for symphonic scores. But by the late 1940s, chafing under the Hollywood system, he set to work writing an original operetta, The Silent Serenade, that he hoped would premiere on Broadway.
The show collapsed. It’s never had a full staging in the United States or even in English.
As chronicled by the Korngold Society, the composer went through a litany of librettists to refine this tale of a love triangle and its improbable political fallout. After passing through a number of hands in English, Korngold returned it to Raoul Auernheimer, Theodor Herzl’s nephew and the original writer of the story on which the operetta was based, to translate it back to German. Korngold disagreed with the excessive demands of the producers, the Schubert Brothers, and left the project, leading the Broadway impresarios to fruitlessly search for a new composer.
Korngold, who with Reinhardt had previous success on Broadway with arrangements of other composers’ work, decided to resume a career in Europe with the piece. After delays owing to his health — a 1947 heart attack — a German version debuted on radio in 1951 and was followed by a staging in Dortmund in 1954. It bombed.
“We’re not exactly sure who it was for,” said Cris Frisco, music director at the Mannes School of Music at the New School, who is conducting the U.S. debut of The Silent Serenade at Mannes Opera. “It seems like it was given to the wrong public.”
That Germans in the post-war weren’t attuned to the piece’s sensibilities speaks poignantly to Korngold’s journey, which began at the center of Austrian high culture, orbiting names like Mahler and Artur Schnabel. “We thought of ourselves as Viennese,”said Korngold, the son of a music critic father. “Hitler made us Jewish.”
His exile in Hollywood realigned his sonic universe. As much as he changed film music, it — and America — left an impression on him.
“It is obviously influenced by Hollywood. It’s obviously coming out of those ’30s and ’40s musicals,” said director Emma Griffin, Mannes Opera’s managing artistic director. “It is a piece that is living between film and theater and opera and musical theater and operetta. It’s so emblematic of Korngold’s life, of how many different pieces of the 20th century he influenced, and this particular show is a crazy quilt of all of those influences.”
The plot of the show is, in Griffin’s words “daffy,” focusing on a Neapolitan actress, her would-be dress designer lover and her fiancé, the prime minister. Singing shopgirls, a tabloid journalist and a media circus round out the cast who perform tuneful numbers imbued with an MGM je ne sais quoi, while remaining rooted in Korngold’s post-romantic, classical mode. While Korngold’s symphonic stylings beefed up adventure films, the orchestration here is sparer, hinting at the Broadway pit for which the piece was devised.
The Mannes staging is part of a resurgence of interest in Korngold in the classical world, following decades of dismissal for his contributions to Hollywood.
It’s ironic that Korngold, who died at the age of 60 in 1957, had in Silent Serenade a profound professional frustration, given how buoyant and frothy the work is.
“It’s heartbreaking to think that he did not fully perceive the massive impact of his artistry,” said Griffin. Though he lived through hard times, Griffin says, his music has been a balm for the performers.
“The students have talked about it several times,” Griffin said, “how happy they are to be working on something where the source is joy.”
Mannes Opera’s production of The Silent Serenade debuts March 13 and 14 with an on-demand recording to follow. Tickets and information can be found here.
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Shower, shelter, swipe: Israel’s ‘startup nation’ meets Iran war with a wave of apps
(JTA) — TEL AVIV — Smartphones have become as essential as shelters for Israelis riding out Iran’s missile attacks, with internet traffic up 25% since the war began on Saturday. From the screaming alerts of the military’s official app that, as one comedian put it, sound like a “baby dragon giving birth,” to bomb-shelter Tinder to multiple apps that tell you when it’s safe to shower, the startup nation is trying to digitize the panic into something more manageable.
At the serious end of the wartime app stack is Home Front Command, the Israeli army’s app available in Hebrew, Arabic, Russian and English. It uses GPS to figure out where you are and only pings you when your area is at risk, with separate alerts for rockets, missiles and terror incidents. In this war, Iran’s long-range fire has come with an extra layer of notice, a warning-before-the-warning that can buy people a few more minutes. The shorter-range threats from Hezbollah, which joined the fray on Tuesday, do not come with that same courtesy.
Bomb Shelter Locator turns shelter-seeking into a map exercise, listing around 20,000 official sites, offering offline city maps and walking routes, and estimating the time it will take to reach the nearest protected space.
For anyone who cannot sprint, Purple Vest tries to close the gap. People with disabilities or older residents can register in advance and request help during alerts, with volunteers using the app to locate them and assist with shelter access or urgent supplies.
For others, shelters are turning into accidental social spaces where people can meet-cute on a mattress. The Hooked app, originally built for speed-dating at events, now doubles as a bomb-shelter icebreaker. Shelter-goers post a QR code at the entrance, and singles who scan it can see who else in the same bunker has the same relationship status. US Ambassador Mike Huckabee — who has not been single since high school — shared it on X alongside the caption: “Someday they will tell their kids ‘we met on a dating app in a shelter while dodging ballastic [sic] missiles.’”
But for some, even showering has become its own risk calculation. Martine Berkowitz was one of many who vented after her attempts to scrub up were interrupted by missiles no less than five times on the second day of the war.
For software developer Ben Greenberg, a father of teenagers, Berkowitz’s complaint was familiar, so he built an app called Best Shower Time that spits out a percentage risk score on whether a shower is likely to be interrupted by an alert.
Posts about it spread on social media and what began as a tool for his family is now drawing about 5,000 visitors a day. Greenberg, a California native who immigrated to Israel from New York in 2018, insists it’s “not a joke app.”
“Sirens are just the ultimate example of lack of control in one’s life,” he said, describing the app as a way to “restore some level of control and predictability … in a time when that feels most vulnerable and most taken away from us.”
The app uses real-time alert data from the Home Front Command, and the score is based on four inputs: how long it has been since the last alert, the average gap between alerts over a six-hour window, whether the frequency is trending up or down, and the total alert count over the past 24 hours. Those are weighted into a single score that appears when you open the app.
Users can then set their own parameters, including how long a shower typically takes and how much buffer time they want afterward to dry off and reach shelter.
And for those who have a penchant for extended bathroom breaks, Greenberg added a separate option that relies on the same logic.
It’s not the only app homing on issues of basic cleanliness to emerge this week. Another app, Can I Shower Now?, has developed a following of its own.
Berkowitz said she was “grateful” for apps to help her navigate the question of whether to jump in the shower. After checking and seeing a 13% chance of a missile alert on Wednesday afternoon, she decided to risk it.
“I took a full 20-minute hot shower and washed my hair. It was lovely. And the next warning only came when I was finished and getting dressed,” she said.
Greenberg is piloting a new app, called Best Walking Time, based on the same principle and prompted by his wife, who regularly walks around the neighborhood during work calls but has been afraid to stray from home lest a missile head their way.
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