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A history of Mel Brooks as a ‘disobedient Jew’
(JTA) — Jeremy Dauber subtitles his new biography of Mel Brooks “Disobedient Jew.” It’s a phrase that captures two indivisible aspects of the 96-year-old director, actor, producer and songwriter.
The “Jew” is obvious. Born Melvin Kaminsky in Brooklyn in 1926, Brooks channeled the Yiddish accents and Jewish sensibilities of his old neighborhoods into characters like the 2000 Year Old Man — a comedy routine he worked up with his friend, the writer and director Carl Reiner. He worked Jewish obsessions into films like 1967’s “The Producers,” which features two scheming Jewish characters who stage a sympathetic Broadway musical about Hitler in order to bilk their investors.
Brooks’ signature move is to inject Jews into every aspect of human history and culture, which can be seen in the forthcoming Hulu series “History of the World, Part II.” A sequel to his 1981 film, “History of the World, Part I,” it parodies historical episodes in a style he honed as a writer on 1950s television programs such as “Your Show of Shows,” whose writers’ rooms were stocked with a galaxy of striving Jewish comedy writers just like him.
The “Disobedient” part describes Brooks’ relationship to a movie industry that he conquered starting in the early 1970s. In a series of parodies of classic movie genres — the Western in “Blazing Saddles,” the horror movie in “Young Frankenstein,” Alfred Hitchcock in “High Anxiety — he would gently, sometimes crudely and always lovingly bite the hand that was feeding him quite nicely: In 1976, he was fifth on the list of top 10 box office attractions, just behind Clint Eastwood.
Dauber describes the parody Brooks mastered as “nothing less than the essential statement of American Jewish tension between them and us, culturally speaking; between affection for the mainstream and alienation from it.”
Dauber is professor of Jewish literature and American studies at Columbia University, whose previous books include “Jewish Comedy” and “American Comics: A History.” “Mel Brooks: Disobedient Jew” is part of the Jewish Lives series of brief interpretative biographies from Yale University Press.
Dauber and I spoke about why America fell for a self-described “spectacular Jew” from Brooklyn, Brooks’ lifelong engagement with the Holocaust, and why “Young Frankenstein” may be Brooks’ most Jewish movie.
Our conversation was edited for length and clarity.
Jewish Telegraphic Agency: “History of the World, Part II” comes out March 6. “History of the World, Part I” may not be in the top tier of Brooks films, but it seems to touch on so many aspects of his career that you trace in your book: the parody of classic movie forms, the musical comedy, injecting Jews into every aspect of human civilization, and the anything-for-a-laugh sensibility.
Jeremy Dauber: I agree. There’s the one thing that really brings it home, and it’s probably the most famous or infamous scene from the film. That’s the Spanish Inquisition scene. You have Brooks sort of probing the limits of bad taste. He had done that most famously in “The Producers” with its Nazi kickline, but here he takes the same idea — that one of the ways that you attack antisemitism is through ridicule — and turns the persecution of the Jews into a big musical number. It’s his love of music and dance. But the thing that’s almost the most interesting about this is that he takes on the role of the Torquemada character.
As his henchman sing and dance and the Jews face torture, the Brooklyn-born Jew plays the Catholic friar who tormented the Jews.
That’s right. And what’s the crime that he accuses the Jews of? “Don‘t be boring! Don‘t be dull!” That’s the worst thing that you can be. It’s his way of saying, “If I have a religion, you know, it is show business.”
His fascination with showbiz seems inseparable from his Jewishness, as if being a showbiz Jew is a denomination in its own right.
One of my favorite lines of his is when he marries [actress] Anne Bancroft, who of course is not Jewish. And he says, “She doesn’t have to convert: She’s a star.” If you’re a star, if you’re a celebrity, you’re kind of in your own firmament faith-wise, and so it’s okay. Showbiz is this faith. But it is very Jewish, because show business is a way to acceptance. It’s a way that America can love him as a Jew, as Mel Brooks, as a kid from the outer boroughs who can grow up to marry Anne Bancroft.
Jeremy Dauber is the author of “Mel Brooks: Disobedient Jew” (Yale University Press)
You write early on that “Mel Brooks, more than any other single figure, symbolizes the Jewish perspective on and contribution to American mass entertainment.” On one foot, can you expand on that?
Jews understand that there’s a path to success and that being embraced by a culture means learning about it, immersing yourself in it, being so deeply involved in it that you understand it and master it. But simultaneously, you’re doing that as a kind of outsider. You’re always not quite in it, even though you’re of it in some deep way. In some ways, it’s the apotheosis of what Brooks does, which is being a parodist. In order to be the kind of parodist that Mel Brooks is, you have to be acutely attuned to every aspect of the cultural medium that you’re parodying. You have to know it inside and outside and backwards and forwards. And Brooks certainly does, but at the same time you have to be able to sort of step outside of it and say, you know, “Well, I’m watching a Western, but come on, what’s going on with these guys? Like why doesn’t anyone ever, you know, pass gas after eating so many beans?”
You have this great phrase, that to be an American Jew is to be part of the “loyal opposition.”
That’s right. Brooks at his best is always kind of poking and prodding at convention, but loyally. He’s not like the countercultural figures of his day. He’s a studio guy. He’s really within the system, but is poking at the system as well.
You wrote in that vein about his 1963 short film, “The Critic,” which won him an Oscar. Brooks plays an old Jewish man making fun of an art film.
On the one hand, he’s doing it in the voice of one of his older Jewish relatives, the Jewish generation with an Eastern European accent, to make fun of these kinds of intellectuals. He’s trying to channel the everyman’s response to high art. “What is this I’m watching? I don’t understand this at all.” On the other hand, Brooks is much more intellectual than he’s often given credit for.
For me the paradox of Brooks’ career is conveyed in a phrase that appears a couple of times in the book: “too Jewish.” The irony is that the more he leaned into his Jewishness, the more successful he got, starting with the “2000 Year Old Man” character, in which he channels Yiddish dialect in a series of wildly successful comedy albums with his friend Carl Reiner. How do you explain America’s embrace of these extremely ethnic tropes?
Brooks’ great motion pictures of the late 1960s and 1970s sort of track with America’s embrace of Jewishness. You have “The Graduate,” which came out at around the same time as “The Producers,” and which showed that someone like Dustin Hoffman can be a leading man. It doesn’t have to be a Robert Redford. You have Allan Sherman and all these popular Jewish comedians. You have “Fiddler on the Roof” becoming one of Broadway’s biggest hits. That gives Brooks license to kind of jump in with both feet. In the 1950s, writing on “The Show of Shows” for Sid Caesar, the Jewishness was there but in a very kind of hidden way. Whereas, it’s very hard to watch the 2000 Year Old Man and say, well, that’s not a Jewish product.
What he also avoided — and here I will contrast him with the novelist Philip Roth — were accusations that he was “bad for the Jews.” Philip Roth was told that his negative portrayals of Jewish characters was embarrassing the Jews in front of the gentiles, but for some reason, I don’t remember anyone complaining even though the Max Bialystock character in “The Producers” can be fairly described as a conniving Jew. What made Brooks’ ethnic comedy more palatable to other Jews?
“The Producers” had a lot of pushback, but for a lot of other reasons.
I guess people had enough to deal with when he staged a musical comedy about Hitler.
Exactly. But the other part is that his biggest films are not as explicitly Jewish as something like Roth’s novel “Portnoy’s Complaint.” I actually think “Young Frankenstein” is one of the most Jewish movies that Mel Brooks ever made, but you’re not going to watch “Young Frankenstein” and say, wow, there are Jews all over the place here.
What about “Young Frankenstein,” a parody of classic horror movies, seems quintessentially Jewish?
The script, which is a lot of Gene Wilder and not just Mel Brooks, is really about someone saying, “You know, I don’t have this heritage — I’m trying to fit in with everybody else. My name is Dr. FRAHNK-en-shteen.” And then people say, “No, this is your heritage. You are Dr. Frankenstein.” [Wilder’s character realizes] “it is my heritage, and I’m embracing it. And I’m Frankenstein. And you may find that monstrous but that’s your business.” It’s about assimilation and embracing who you are.
And of course, Wilder as Dr. Frankenstein is unmistakably Jewish, even when he plays a cowboy in “Blazing Saddles.”
Right. Again, by the mid-’70s, you know, you have Gene Wilder and Elliot Gould and Dustin Hoffman, all Jews, in leading roles. “Young Frankenstein” ends up being a movie about coming home and embracing identity, which is playing itself out a lot in American Jewish culture in the 1970s.
I guess I have to go back and watch it for the 14th time with a different point of view.
That’s the fun part of my job.
You talk about what’s happening at the same time as Brooks’ huge success, which is, although he’s a little younger, the emergence of Woody Allen. You describe Brooks and Woody Allen as the voice of American Jewish comedy, but in very different ways. What are the major differences?
Gene Wilder, who worked with both of them, says that working with Allen is like lighting these tiny little candles, and with Brooks, you’re making big atom bombs. The critical knock against Brooks was that he was much more interested in the joke than the story. And I think with the exception maybe of “Young Frankenstein” there’s a lot of truth to that. The jokes are phenomenal, so that’s fine. Allen pretty quickly moved towards a much more narrative kind of film, and so began to be seen as this incredibly intellectual figure. In real life, Allen always claimed that he wasn’t nearly as intellectual as everyone thought, while Brooks had many more kinds of intellectual ambitions than the movie career that he had. There is a counterfactual world in which “The 12 Chairs,” his 1970 movie based on a novel by two Russian Jewish novelists and which nobody talks about, makes a ton of money.
Instead, it bombs, and he makes “Blazing Saddles,” which works out very well for everybody.
Although he does create Brooksfilms, and produces more narrative, serious-minded films like “The Elephant Man” and “84 Charing Cross Road.”
Right, and decides that if he puts his name on these as a director, they’re going to be rejected out of hand. There is a shelf of scholarship on Woody Allen, but if you look at who had influence on America in terms of box office and popularity, it’s Brooks winning in a walk.
You also mention Brooks and Steven Spielberg in the same sentence. Why do they belong together?
Partly because they had huge popular success in the mid-’70s. Brooks is a generation older, but they are hitting their cinematic success at the same time. And they are both movie fans.
Which comes out in their work — Brooks in his film parodies and Spielberg in the films that echo the films he loved as kid.
Until maybe his remake of “West Side Story,” Spielberg is not really a theater guy in the way that Brooks is, when success meant to make it on Broadway. When Brooks was winning all those Tonys in 2001 for the Broadway musical version of “The Producers,” it may have been almost more meaningful for his 5-year-old, or 7- or 8-year-old self than making his incredibly popular pictures.
You also write about Brooks being a small “c” conservative, a bit of a square. Which I think will surprise people who think about the fart jokes and the peepee jokes and all that stuff. And by square, I mean, kind of old showbizzy, even a little prudish sometimes.
I think that’s right. There’s a great moment that I quote at the end of the book where they are trying out the musical version of “The Producers,” and they want to put the word “f–k” in and Brooks is like, “I don’t know if we can do that on Broadway,” and Nathan Lane is like, “Have we met? You’re Mel Brooks!” He’s a 1950s guy.
Another place where this kind of conservatism comes in is when you compare him to other comedians of the 1950s and ’60s — the so-called “sick comics” like Lenny Bruce and Mort Sahl who were pushing the envelope in terms of subject matter and politics. He wasn’t part of that. He was part of Hollywood. He was trying to make it in network television.
There is an interview in that era when he complained that people who are writing for television are not “dangerous.” Meanwhile, he himself was writing for television. But I think it’s fair to say that “The Producers” was really something different. You didn’t have to be Jewish to be offended by “The Producers.” But as we were saying before, he is more of the loyal opposition, rather than sort of truly out there. He’s not making “Easy Rider.”
An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)
“The Producers” is part of Brooks’ lifelong gambit of mocking the Nazis, I think starting when he would sing anti-Hitler songs as a GI in Europe at the tail end of World War II. Later he would remake Jack Benny’s World War II-era anti-Nazi comedy, “To Be or Not to Be.” And then there is the quick “Hitler on Ice” gag in “History of the World, Part I.” Brooks always maintains that mocking Nazis is the ultimate revenge on them, while you note that Woody Allen in “Manhattan” makes almost the opposite argument: that the way to fight white supremacists is with bricks and baseball bats. Did you come down on one side or the other?
To add just a twinge of complication is the fact that Brooks actually fought Nazis, and also had a brother who was shot down in combat. So for me to sit in moral judgment on anybody who fought in World War II is not a place that I want to be. What’s interesting is that Brooks makes a lot of these statements over the course of a career in which Nazism is done, in the past, defeated. Tragically, the events of the last number of years made white supremacy and neo-Nazism a live question again. When “The Producers” was staged as a musical in the early 21st century, people could say, “Okay, Nazism’s time has passed.” It’s not clear to me that we would restage “The Producers” now as a musical on Broadway, when just last week you had actual neo-Nazis handing out their literature outside a Broadway show. It would certainly be a lot more laden than it was in 2001.
Time also caught up with Brooks in his depiction of LGBT characters. Gay characters are the punchlines in “The Producers” and “Blazing Saddles” in ways that have not aged well. But you also note how both movies are about two men who love each other, to the exclusion of women.
There’s an emotive component to him about these male relationships. Bialystok and Bloom [the protagonists in “The Producers”] is a kind of love story. One of the interesting things is that as it became comparatively more comfortable for gay men to live their truth in society and in Hollywood, there was an evolution. In that remake of “To Be or Not to Be,” there is a much more sympathetic gay character who’s not stereotypical.
What other aspects of Brooks’ Jewishness have we not touched upon? For instance, he’s not particularly interested in Judaism as a religion, and ritual and theology rarely come up in his films, even to be mocked.
It’s not something that he’s particularly interested in. To him, being Jewish is a voice and a language. From the beginning of his career the voice is there. What he’s saying in these accents is that this is Jewish history working through me. It is, admittedly, a very narrow slice of Jewish history.
The first- and second-generation children of Jewish immigrants growing up in Brooklyn neighborhoods that were overwhelmingly Jewish.
It was a Jewishness that was aspirational. It was intellectual. It was a musical Jewishness. It was not in the way we use this phrase now, but it was a cultural Jewishness. It was not a synagogue Jewishness or a theological Jewishness. But of course he is Jewish, deeply Jewish. He couldn’t be anything else. And so he didn’t, and thank God for that.
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The post A history of Mel Brooks as a ‘disobedient Jew’ appeared first on Jewish Telegraphic Agency.
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Years after a boycott fight, Ben & Jerry’s Israel debuts a flavor celebrating Israeli resilience
(JTA) — Ben & Jerry’s Israel operation has come up with a flavor that does not leave much to interpretation. Called “Milk and Honey,” a nod to the biblical description of the Land of Israel, its namesake ingredients are supplied by Israeli cows and bees and its chocolate fudge pieces come shaped like Stars of David.
The company, which split from its American counterpart after a contentious 2021 boycott fight, is billing the new pint as its “most Israeli flavor ever” and, on its website, as a “symbol of hope, rehabilitation, and positive action” after the Hamas-led Oct. 7 attack.
Its ingredients and production come from southern Israeli communities most affected by the massacre and the war that followed. The company, based in the southern city of Kiryat Malachi, said it “felt a responsibility to take an active part in the region’s recovery process.”
The milk and cream come from the dairy in Kibbutz Alumim, one of the Gaza-border communities infiltrated by Hamas terrorists on Oct. 7, 2023. The honey comes from the beehives of Kibbutz Yad Mordechai. The chocolate Stars of David are made by hand at the Korint factory in Beersheba, part of the Shkulo Tov social enterprise, which helps integrate people with disabilities into the workforce.
Even the wrapper is local: the pint is adorned with “Fields of Light,” a painting by Rivi Doron-Gerloy, a southern Israeli artist who was killed in a Miami car accident last year.
The flavor was developed in partnership with the Ayalim Association, a nonprofit that works to strengthen Israel’s periphery. The company said royalties from sales of the new flavor will go to Ayalim’s rehabilitation and educational initiatives in the south.
The Israeli and American Ben & Jerry’s operations are now completely separate, a split that followed one of the more improbable diplomatic dramas ever to involve ice cream. In 2021, Ben & Jerry’s said it would stop selling in Israeli settlements in the West Bank, saying sales there were “inconsistent” with its values.
The move set off an uproar in Israel. President Isaac Herzog called the boycott a “new kind of terrorism,” while Benjamin Netanyahu, then opposition leader, retweeted the company’s announcement that it would stop selling in the “Occupied Palestinian Territories,” writing, “Now we Israelis know which ice cream NOT to buy,” alongside Israeli flag and flexed-bicep emojis.
The original founders, Ben Cohen and Jerry Greenfield, who no longer control the company but remain its best-known faces, also came under fire after the decision. In an interview, they were asked why the boycott logic did not extend to places such as Georgia and Texas, despite their opposition to those states’ voting rights and abortion laws.
“Why do you still sell ice cream in Georgia? Texas?” Axios reporter Alexi McCammond asked in a video that went viral on pro-Israel platforms.
Clearly stumped, Cohen shrugged his shoulders. “I don’t know,” he said, laughing. “You ask a really good question and I think I’d have to sit down and think about it for a bit.”
Unilever’s then-chief executive, Alan Jope, also appeared to suggest that Israel had become an inconveniently sticky scoop of activism. “There is plenty for Ben & Jerry’s to get their teeth into in their social justice mission without straying into geopolitics,” he reportedly said in a quarterly earnings review at the time.
The standoff ended, at least commercially, when Unilever, Ben & Jerry’s parent company, sold the Israeli business in 2022 to Avi Zinger, the longtime Israeli licensee and owner of American Quality Products. The sale was accompanied by a legal fight that was inflamed when Zinger told an Israeli news outlet that, once he took control of the company in Israel, he could rename the signature flavor “Chunky Monkey” to “Judea and Samaria,” the Hebrew term for the West Bank.
Under the ultimate deal, Ben & Jerry’s could continue to be sold throughout Israel and in Israeli settlements, under Hebrew and Arabic branding, while the Vermont-based company said it disagreed with the move and would no longer profit from Israeli sales.
The split left the Israeli operation in an unusual position: carrying one of the most recognizable American ice cream names, while openly defying the political stance associated with that name abroad.
But the corporate restructuring has not been enough to cleanse the palate for everyone. On social media, the new flavor drew curiosity and praise, but also lingering resentment from those who said the brand name still carried too much baggage, even under Israeli ownership.
“I really don’t care if it’s owned by someone other than Ben and Jerry in Israel. Those two clowns’ names are still associated with the brand. I wouldn’t spend a penny for this ice cream regardless. That brand is done,” one person wrote on Instagram.
“We’ve been eating Häagen-Dazs since October 7th,” another said.
Last year, Cohen announced that he planned to produce a “flavor for Palestine” independently after Unilever blocked Ben & Jerry’s from creating one, soliciting suggestions about what should accompany watermelon, a symbol of Palestinian solidarity, in his concoction.
“Milk and Honey” has come to market faster. So does the new flavor deliver a taste of the Holy Land?
One food influencer, who called the new flavor a “statement,” offered a less scriptural verdict on the taste, shrugging that it “tastes like vanilla with chocolate chips” — a conclusion echoed by others in Israeli food aficionado groups, who lamented that the honey was barely noticeable.
One commented, referring to dairy-free desserts made to comply with kosher laws prohibiting the mixing of milk and meat: “Not the tastiest thing I’ve ever eaten, but not as bad as a pareve dessert either.”
This article originally appeared on JTA.org.
The post Years after a boycott fight, Ben & Jerry’s Israel debuts a flavor celebrating Israeli resilience appeared first on The Forward.
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Mamdani calls AIPAC ‘monsters’ in rally ahead of NY primaries
(JTA) — New York City Mayor Zohran Mamdani on Thursday night accused the American Israel Public Affairs Committee of spending “millions in dark money” to ensure pro-Israel candidates win seats in tthe November midterms.
Mamdani made his remarks at a rally headlined by Sen. Bernie Sanders (I-VT) at Kings Theater in Brooklyn ahead of Tuesday’s Democratic primaries for progressive congressional candidates. He called on the crowd to help elect Jewish former New York City Comptroller Brad Lander, State Assembly member Claire Valdez and former Columbia encampment organizer Darializa Avila Chevalier.
In a fiery 30-minute speech, Mamdani took aim not just at AIPAC but also Israeli Prime Minister Benjamin Netanyahu and his handling of the war in Gaza. He claimed that “The monsters that we are up against, they take many different forms,” and then singled out AIPAC.
He described the major pro-Israel lobby as an organization “for whom the only thing more frightening than democracy being allowed to run its course is an end to genocide and Netanyahu’s wars.”
Mamdani continued by alleging that AIPAC moves “millions in dark money to accomplish a single goal, to preserve their power so that they can turn us against one another instead of our leaders turning towards the moral change we all know to be necessary.”
AIPAC did not respond to a request for comment about Mamdani’s remarks.
The lobby, whose endorsement was once heavily sought by politicians on both sides of the aisle, has increasingly come under fire for its campaign tactics. Pro-Israel Democrats are particularly struggling to hold onto seats as voters on the left increasingly turn against the Jewish state.
Sanders, for his part, doubled down on criticism of AIPAC when he took the stage. “The American people understand that a large part of our horrific foreign policy is impacted by AIPAC funding,” he said.
Turning to the local races, Mamdani voiced support for Valdez for her opposition to Israel. “When other Democrats chose to look the other way as Netanyahu committed war crimes, Claire didn’t just name the genocide,” he said. “She organized for a ceasefire.”
In a change of tone, Mamdani emphasized unity, including an appeal to Jewish voters.
“Whether you worship at shul, at a mosque, in a church, a gurdwara, a temple, or you don’t worship at all, we share a belief that our city deserves leaders who lead with hope and not fear,” the mayor said.
He added, “No matter where we live, how old we are, what train we take in the morning, or what bagel we order, we are New Yorkers and we want the same things,” including “a city that belongs to all of us.”
Reaction on social media was swift. One self-described mom from New York City posted on X of the rally and the Democratic Socialists of America there: “It’s pretty transparent and vile how Zohran Mamdani and the DSA are using ‘AIPAC’ as a euphemism for Jews, and how Brad Lander is going right along with it.”
Jewish writer Dovi Safier also criticized the comments, writing, “The mayor of the city with the world’s largest Jewish population is pushing conspiracy theories about ‘money men’ who ‘move millions in dark money’ to ‘turn us against one another’ — and calling them ‘monsters.’ Subtle.”
This article originally appeared on JTA.org.
The post Mamdani calls AIPAC ‘monsters’ in rally ahead of NY primaries appeared first on The Forward.
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Jewish groups push back against Trump’s Iran deal — but more quietly so far than in 2015
(JTA) — A growing number of Jewish groups are pushing back against the new memorandum of understanding brokered between President Donald Trump and Iran.
At least for now, however, their responses are more muted than when the same groups publicly opposed former President Barack Obama’s own Iran deal in 2015. And at least one major Jewish group that opposed Obama’s deal is backing Trump’s framework.
“Trust President Trump,” the Republican Jewish Coalition told its followers Thursday, becoming the most notable Jewish group to support Trump’s memorandum of understanding.
“President Trump has earned the trust of the Jewish community as he and his team work towards a final agreement,” RJC CEO Matt Brooks and chair Norm Coleman said in a statement. They praised the MOU, saying it “envisions a horizon of economic stability for the United States, the region, and the world,” and that it “provides an opportunity for potential new pathways to greater peace.”
The RJC cautioned that “a final deal must avoid the flaws that doomed Obama’s,” specifying that there should be “no sunset clauses” on Iran’s nuclear program and other proposals. In the days before its own statement, the group had been reposting praise of the MOU from other Trump allies, including Sen. Lindsey Graham.
Meanwhile, the American Jewish Committee and the pro-Israel lobbying giant AIPAC took a different tack. They became the largest Jewish organizations to voice concern with the new Iran deal on Thursday, issuing public objections following requests for comment from the Jewish Telegraphic Agency.
The MOU “raises significant questions,” AIPAC said in a lengthy statement that urged Congress to intervene ahead of “a final nuclear agreement,” claiming that the terms of the MOU don’t match “President Trump’s stated objectives for the war.”
The AJC outlined what it said were seven “concerns” it had with the MOU. Like most of the other Jewish groups that responded to JTA for this story, the AJC also expressed hope that the terms of the deal could be changed to be stricter on Iran and more favorable to Israel before it is finalized. (In 2015, in response to Obama’s Joint Comprehensive Plan of Action, the AJC said it “overwhelmingly” would “oppose this deal.”)
Trump’s MOU is not a final agreement, unlike Obama’s JCPOA. Rather, it marks the start of a 60-day negotiating period that aims to end the Iran war about to enter its fourth month. It does not yet outline any clear commitments regarding Iran’s nuclear program, which had been at the heart of the JCPOA and which is of particular concern to Jewish groups, who are roundly opposed to Iran obtaining a nuclear weapon in large part because of the risk to Israel. Many had objected to Obama’s deal in part because of its “sunset clauses” that would have phased out nuclear restrictions starting at the 10-year mark.
Regardless, many analysts across the political spectrum are concluding that Trump’s framework is a worse deal than Obama’s, in part because it provides a pathway for Iran to stage an economic recovery.
The Israeli government, which sent Prime Minister Benjamin Netanyahu to personally lobby Congress in 2015 to oppose Obama’s deal, is also strongly opposed to Trump’s — in part because it would require Israel to withdraw from fighting Hezbollah in southern Lebanon. A new poll by Israel’s Channel 12 found that 71% of Israelis don’t trust Trump to look out for their country’s interests in negotiations with Iran.
Hawkish pro-Israel think tanks, including the Foundation for Defense of Democracies and the Jewish Institute for National Security of America, issued papers knocking Trump’s deal.
“In some ways, the MOU is even weaker than President Barack Obama’s,” JINSA said. “This new deal authorizes the transfer of far more money and lifts many more sanctions on Iran than the JCPOA ever did.”
Trump and his top surrogates, including Vice President JD Vance, are increasingly signaling a lack of patience with Israel and a willingness to prioritize ending the war over stopping Iran’s nuclear program.
Some groups are waiting before weighing in. Nathan Diament, head of the Orthodox Union, declared Obama’s deal “not kosher” in 2015. On Thursday, he told JTA that the question of how to respond to Trump’s deal “will be a central topic of discussion” at the group’s leadership advocacy mission in Washington, D.C., taking place early next week. O.U. representatives are scheduled to meet with members of the Trump administration, as well as members of Congress.
JTA reached out Thursday to a wide range of Jewish groups that publicly opposed Obama’s Iran deal in 2015 to ask them their views on Trump’s. Many others, including the Anti-Defamation League and the Conservative movement’s Rabbinical Assembly, did not respond by press time.
Of those who did, only Morton Klein, head of the right-wing Zionist Organization of America, castigated the MOU outright. Klein told JTA he was “extremely upset with this deal” — and with Trump.
“I find this deal just astonishing,” Klein said. “Helping out a country that Trump himself said, if they’d gotten nukes, they’d have used them on Israel and killed millions of Jews? So that mentality, now you’re helping them rebuild?”
He added, “Trump has done many wonderful things for Israel, so we’ve praised Trump for that. But now he’s doing something very bad for Israel and America.”
Such level of forceful public opposition to the deal, though, is rare in Jewish circles at present — especially in contrast with the extent of Jewish mobilization against Obama’s deal in 2015.
Back then, in addition to the usual Jewish advocacy groups, dozens of local Jewish federations across the country pushed their communities and representatives to fight it, in a sweeping and sustained show of opposition.
“This Iran deal threatens the mission of our Federation as we exist to assure the continuity of the Jewish people, support a secure State of Israel, care for Jews in need here and abroad and mobilize on issues of concern,” one typical statement, from the Jewish Federation of Greater Los Angeles, read at the time.
Three years later, during Trump’s first term, he tore up the JCPOA, calling it “a horrible one-sided deal that should have never, ever been made.”
The lack of similar opposition today for Trump’s deal, Klein said, was glaring: “Nobody is taking issue with this agreement in the Jewish world.”
Among local Jewish groups, the initial reaction to Trump’s MOU has struck a measured tone. The Jewish Community Relations Council of Greater Washington, one of dozens of local Jewish communal groups that publicly opposed the 2015 JCPOA, told JTA it was “concerned” that Trump’s deal “has granted Iran a new leverage point to use in the future to inflict pain on the world’s economy.”
Ron Halber, the JCRC’s head, blasted the MOU for being crafted without Israel’s input, and for requiring Israel to withdraw from its offensive against Hezbollah in Lebanon. Similar to AIPAC, Halber said his organization would continue to push for “a final U.S.-Iran agreement” that is more favorable to Israel and takes harsher measures against Iran.
In its statement, the Jewish Federation of Greater Philadelphia, which also opposed the JCPOA, did not directly weigh in on the new MOU. Instead, the federation said, “Any agreement involving the Iranian regime should be judged by its ability to prevent a nuclear-armed Iran,” among other factors.
JTA reached out to six other major Jewish federations that opposed the 2015 JCPOA, including Combined Jewish Philanthropies of Greater Boston, which was the first federation to oppose that deal and whose leader wrote, in 2021, “We were right.”
CJP of Boston did not respond to a request for comment. The Jewish United Fund of Chicago declined to comment, while several other federations that opposed the JCPOA — including Los Angeles, Miami, Phoenix and Detroit — did not respond by press time.
In its own statement opposing the MOU, AIPAC did not outline an advocacy plan to combat it, in contrast to its full-court press against the JCPOA. An AIPAC spokesperson did not return a JTA request for comment on whether, or how, it planned to advocate against Trump’s MOU.
This article originally appeared on JTA.org.
The post Jewish groups push back against Trump’s Iran deal — but more quietly so far than in 2015 appeared first on The Forward.
