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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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My city and party are changing. The implications for liberal Jewish New Yorkers could be enormous.
I moved to New York City in the early 1990s. My original commitment was for only one year, but I quickly fell in love with the place. Part of the appeal was the city’s Jewishness.
Everywhere you looked, there were signs of Jewish influence. This was an era where people repeated jokes from Seinfeld by the water cooler. And it was conventional wisdom that any candidate who wanted to hold office in New York had to appeal to the three “I’s” — Italy, Ireland, and Israel.
While being Jewish was not a big part of my identity — I am not religious and have always lived an assimilated life — I immediately felt comfortable in this kind of environment. I intuitively understood the humor and the rhythm of the city. Many prominent New York public officials — figures like Ed Koch and Ruth Messinger — were familiar types that I recognized from my extended family gatherings.
And so I ended up staying put, becoming yet another liberal Jewish New Yorker. For more than 30 years, I never really thought much about these three overlapping identities — liberal, Jew, New Yorker — because I didn’t have to. Nothing could be more natural than being a liberal Jewish New Yorker — the town was practically teeming with people more or less just like me.
The number of Jews in New York has remained basically the same since I first moved here, but the city no longer feels quite as hospitable as it once did. In fact, some prominent commentators and publications have begun asking: Is it still safe for Jews in New York?
This question doesn’t come out of nowhere. The years since Oct. 7, 2023 have been challenging for Jews in New York. The day after the attack, the New York City chapter of the Democratic Socialists of America held a gathering in Times Square to show their support for the Palestinian cause, marching under the banner “by any means necessary.” This was the start of a season of protest that featured encampments and demonstrations at many New York universities.
The energies unleashed by the pro-Palestine protest movement could not be contained on campus. Events kept landing closer and closer to my doorstep. The Israeli restaurant around the corner from my house was vandalized. My friend Andy Bachman, a liberal rabbi, was prevented from speaking at a Brooklyn bookstore because he supports the existence of Israel.
Then, last week, my congressman, Rep. Dan Goldman, went out to get a cup of coffee at Poetica, a café in Brooklyn. Afterward, Poetica posted a photo of him on Instagram, along with a message that the coffee shop does not serve “genocide enablers.” The post added, “Too bad we didn’t recognize you right away, or we would have turned you away.”
This insult was soon followed by (political) injury: Goldman lost his primary to Brad Lander, whose campaign was largely focused on accusing Goldman of not being tough enough on Israel, even though Goldman has been critical of the conduct of the war in Gaza and supportive of imposing conditions on American aid.
All of this is disconcerting, but let’s be clear: Today’s New York City is not Weimar Germany. Rep. Ritchie Torres — among the Democratic Party’s most vocal and consistent defenders of Israel — just won his primary by a wide margin. New York City Mayor Zohran Mamdani has repeatedly vowed to protect the local Jewish community. Indeed, Mamdani likely would not have been elected without the support of roughly a third of Jewish voters.
New York City may still be safe for Jews, but what is less clear is whether the default position of many liberal Jews — who are critical of the Netanyahu government and supportive of a two-state solution — still has a place in the Democratic Party, either locally or nationally.
In Exit, Voice and Loyalty, economist Albert O. Hirschmann argued that when people are confronted by a deteriorating situation, they effectively have three options: to accept the decline, to leave, or to stay and fight. Jews have been building institutions and fighting for belonging in New York City for hundreds of years. Abandoning that work now would be a colossal overreaction.
However, liberal Jewish New Yorkers who choose to stay in the city will have to reckon with a changing reality. The demographics of New York have shifted. The Muslim population has grown. Younger New Yorkers have different political instincts than the generations that preceded them.
The recent New York congressional primary victories by three candidates who are extremely critical of Israel are not flukes — they are reflective of a significant turn in public opinion.
There has been a massive erosion of public support for Israel in the United States in recent years, with Americans now expressing more sympathy for the Palestinians than Israelis. Writing in Jewish Currents, Peter Beinart triumphantly announced: “Restricting U.S. support for Israel is no longer politically perilous; it’s politically expedient.”
The question is no longer whether the Democratic Party should include activists who are fiercely opposed to Israel. That ship has sailed. The question is whether the party — and polite society — will follow Poetica’s lead and declare people like Dan Goldman unwelcome.
Is there still a place in the Democratic Party for liberal Jews who believe in Israel’s right to exist? It remains to be seen. But for the first time in more than 30 years, I find myself thinking about the words “liberal,” “Jewish” and “New Yorker” as potentially separable things. I doubt I am the only one.
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We’re losing control of AI. Is Judaism the key to keeping it from killing us?
If you always dreamed of working in artificial intelligence, perhaps you studied computer science, or math. Who knows, maybe you did computational biology to better understand how to build a neural network. What you probably never imagined might be useful was Talmud, halakha and Jewish history.
Yet those are exactly the skills Judd Rosenblatt, founder of AI consulting company AE Studios and AI ethics nonprofit the AI Alignment Foundation, is looking for.
Rosenblatt thinks that the evolution of Jewish thought might be core to solving a very specific — and worrying — issue with artificial intelligence.
That issue is recursive self-improvement, or RSI, the process of an AI editing itself, and then editing those edits, and so on — all without humans in the loop, checking its work or even knowing about the changes. This skill is the current holy grail of AI research, because it will allow for exponential speed in improvements; every major AI company is racing toward RSI and, according to rumors, Anthropic has likely already achieved it. That means changes at a speed and scale human brains are not built to comprehend.
But RSI isn’t just a way to quickly improve AI — it is also the end of human control and oversight over artificial intelligence. It’s a sort of Ship of Theseus paradox, which asks whether a boat is the same object after all of its boards have been replaced. If AI rewrites itself over and over, faster and faster, will it cease to be the machine humans created and become something we can’t understand, predict or control? Which is where Rosenblatt’s project comes in.
“How do you make something that is poised to get exponentially smarter than you continue to do what you think is right and good?” he said. “How do we make it such that it does not kill us?”
This project is known in the business as AI alignment — basically, to make sure AI aligns with human values and ethics. The challenge is that AI might edit out those values during its upgrading; we already have evidence that AI will discard certain commands if it concludes they are extraneous or contradictory to its other goals. So the AI needs to believe that these ethical tenets are useful or valuable enough that it doesn’t delete them when it is rewriting itself.
The crux of Rosenblatt’s research is figuring out how to keep those values alive. He’s not only looking at Judaism; he’s also considering the history of thought, immune systems and even bookkeeping for ideas. (He is himself Jewish, raised Reform and bar mitzvahed — and recognized this may give him a bias toward halakha.) He is particularly interested in far-fetched ideas, outside the current Overton window of alignment techniques, none of which he thinks are sufficient for the coming problem of RSI.
“A lot of the biggest breakthroughs in the history of science come from individuals with strong hunches that no one else believed in. But these people chose to stick with their hunches,” Rosenblatt said.
He believes that finding “neglected visionaries” who are outside the norms and might struggle to find funding, and pairing them with a team of engineers and tech-minded experts, could lead to a breakthrough. To do this, he is taking some of the profits from his AI consulting firm AE Studios and putting them into the nonprofit AI Alignment Foundation.
“It’s interesting to study what has survived adversarial pressure over long periods of time. So you can say let’s study things that have survived evolutionary adversarial pressure,” and examine biological survival mechanisms, he said. “And then there’s civilizational adversarial pressure.”
Before the Second Temple was destroyed, Judaism revolved around temple sacrifice and the priesthood. Yet after its destruction, Judaism didn’t die; instead, it became something different.
The reason Judaism survived is not despite the changes, Rosenblatt hypothesizes, but because of them. “I think a tradition that reinterprets nothing is the more fragile one,” he said. “A rule that cannot be bent, cannot adapt to a new world and dies out.”
There are interesting parallels between the structure of arguments in the Talmud and the problem of RSI: Both involve constantly layered, referential rewritings; it even preserves the ideas that do not end up winning the arguments canonized in the writings. In the Talmud, the original text — the Torah — is interpreted into the Mishna, the Gemara and countless later commentaries that shift the practice of the laws over time. Yet certain values remain. Some of Judaism’s traits have even survived an even bigger change: Christianity. Yet even Christianity keeps some of Judaism’s core ideas, like monotheism and pikuach nefesh, the idea that saving a life supersedes any other command.
“It is maybe the best working example that I know of that survived the total destruction, multiple times, of the thing that was it,” Rosenblatt said. “And it did that using mechanisms that it built into itself, on purpose. That is the alignment problem, stated in Jewish terms.”
Another promising angle is the idea of covenant as a relational bond; Jews inherit the covenant, but must also choose to engage with Judaism, and with God, just as the AI might one day have to choose to preserve certain values even as it adapts them.
“Everything that lasts in Judaism is sort of organized around a covenant which endures the transformation from one generation to the next,” he said. “You inherit it, but you also choose to participate in it.”
Of course, Judaism has changed enormously over time — and some people might argue that its core has changed enormously too, with many Jews centering tikkun olam over keeping kosher, for example, or differing widely on Israel or even not believing in God.
But Rosenblatt said this is part of the point; some traits get selected for and last through major changes, and others don’t, just like in evolution. That’s how you winnow it down to its strongest components.
The question is what is that core that remains, and why. Rosenblatt has a lot of ideas. But he didn’t want to tell me what his hunch about Judaism’s eternal core; he doesn’t want to bias anyone. He wants those neglected visionaries to come and tell him their biggest, best ideas. The door is open.
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The Israeli rescue operation that was tailor made for Hollywood
In the early hours of July 4, 1976, Israel completed a stunning and unprecedented military action that saved 102 Israeli lives. A French plane traveling from Tel Aviv to Paris had been taken over by hijackers demanding the release of 53 Palestinian prisoners held in several countries, including 40 in Israel.
Rerouted to Entebee, Uganda, a pro-Palestinian country headed by the savage dictator Adi Amin, the plane sat in the terminal, surrounded on all sides by armed Ugandan soldiers. The hijackers set a deadline stating that if their demands were not met they would start murdering the hostages. The ordeal dragged on for seven days.
Fifty years later, the extraordinary event still resonates — for those who celebrate Israeli brilliance and bravery as well for those who view the hijackers as freedom fighters embracing a just Palestinian cause.
The event inspired an array of films, most of which depict the harrowing week-long episode with a fair degree of verisimilitude. But, viewed through a post-Oct. 7 lens, each reflects divergent points of view.
The best known are Victory at Entebbe, Raid on Entebbe (two star-studded American blockbusters), 7 Days at Entebbe and Operation Thunderbolt. The latter, an Israeli produced Academy Award nominee for Best Foreign Language Film (1978) and no longer available for streaming in the United States, was praised for its authentic feel and historically accurate backdrops, military equipment and uniforms. In its first iteration, Arabic, Hebrew, French and English were spoken. In a later version, dubbed for an international audience, everyone conversed in English. It presented the Israel Defense Forces in a glowing heroic light.
Victory at Entebbe was the most starry of the lot, featuring Elizabeth Taylor, Kirk Douglas, Richard Dreyfus, Burt Lancaster, Theodore Bikel, Anthony Hopkins and Helen Hayes. Though it, too, casts the Israeli commandos as epic figures, at its core it’s about the entrapped Israeli passengers and their present, also past, lives and their conflict-ridden or romantic interactions, some of which bordering on absurdity.
There’s the sometimes wise and sometimes dotty grandmother archetype (Hayes) hoping the plane might be hijacked to India since she’s never been there before and would like to visit. One religious Jew demands kosher food, while others insist upon lighting Shabbat candles. A young girl (Linda Blair, post-Exorcist) tries to cheer everyone up with chocolates. And back home in Israel, her mother (dreadfully played by Taylor) has lost her mind and incoherently screams something about red ribbons.
The characters are way over the top. My favorite is the female German hijacker Brigitte Kuhlmann (played by Bibi Besch), strutting about and barking, often shrieking, demands at the Israeli hostages.
Most of the films create a thread between the victims of the Holocaust and the Jewish passengers. The Jewish hostages are brutally segregated into a separate room in the terminal and treated far worse than the others. In one particularly ham-fisted Victory scene, a Jew with a Belgian passport refuses to be housed with Israelis. He is a Belgian, he insists. Later, he is overwhelmed with guilt because he didn’t identify as a Jew. Another passenger reassures him that trying to survive is fully understandable. Sound familiar?
The most successful film of the films is Raid on Entebbe (1976), directed by Irvin Kershner and starring Peter Finch, Charles Bronson, Martin Balsam, Jack Warden and Sylvia Sidney. It embodies all the elements of a well-conceived airplane hijacking thriller, coupled with archival footage featuring iconic American newscasters of the period covering the happenings as they unfolded. Like many disaster films, it presents a cast of interacting characters with subplots that, unlike Victory at Entebee, are plausible, at least within parameters, and don’t overwhelm the film.
A high point here is the Jewish actor Yaphet Kotto’s Idi Amin, at once a ferocious figure and a buffoon. Careerism, opportunism and self-promotion are at his core. His cheery “Shalom, Shalom” while waving to the Israeli hostages is bone-chilling.
The film is unequivocally told from the Israeli point of view and is especially vivid in its depiction of the internecine struggle within the cabinet. Defense Minister Shimon Peres and others argue that Israel has never given in to the demands of terrorists and to do so now would create a dangerous precedent. Others respond that lives are at stake. Outside in the streets, protesters demand that the cabinet negotiate with the hijackers. On the surface, the Israeli government is proceeding with diplomacy at the very moment it has launched a complex military intervention.
It’s a high-risk sneak attack in the middle of the night, involving four cargo planes carrying between 100-200 soldiers and escorted by Phantom jet fighters. They fly close to 2,500 miles from Israel to Uganda and within 90 minutes of landing the commandos have rescued 102 of the hostages, killed the hijackers and dozens of the Ugandan guards. It’s a nail biter.
But there are losses too, including the murder of Major General Yonatan “Yoni” Netenyahu (older brother of the Prime Minister), the spearheading force behind the rescue. The impromptu Kaddish uttered by the soldiers flanking his body on the return flight is quite moving.
Still, at the end you cheer for the Israelis even as you mourn the irretrievable loss of life.
Seven Days in Entebbe, directed by José Padilha, stands in stark contrast to the other films, focusing its attention on three of the hijackers. There is the furious Palestinian and two Germans, whose motivations are more enigmatic. The one woman (Rosamund Pike) seems the most eager to kill anyone or everyone. Her rage is far more existential and free-floating than it is political or even targeted.
The gentlest of the lot and the most conflicted (vividly acted by Daniel Brühl) is a left-leaning German publisher, who wants to make a statement that puts him on the right side of history, at least as he sees it. His posturing becomes all too real when he realizes he may actually be called upon to pull the trigger. Throughout, he grapples with Holocaust history and the moral complexity and resonance of contemporary “Germans killing Jews.”
“You are here because you hate your country,” says the Palestinian, “I am here because I love mine.”
“Jews came to Palestine and did to our people what your people did to them,” he adds. “Go back to your nice life. I go back to nothing.”
The dramatization of philosophical differences among the hijackers, informed by class and experience, is not without interest. Unlike the other films, this movie concludes on an introspective and perhaps even conciliatory note as Prime Minister Rabin says that in the future Israel will have to negotiate.
Most off-putting is the interspersed presence of the Batsheva Dance Company. Its members are on a stage seated on folding chairs in a circle. Abruptly, they twisting this way and that to evoke anguish. In each segment the tortured movements grow increasingly intense. These choreographic bits that also serve as bookends to the film are pretentious, totally unaccounted for, serve no discernible purpose, and bring to mind badly done satire.
The topic of the Entebbe raid has surfaced once again with Boaz Dvir’s compelling To Kill a Nazi, which just debuted in Los Angeles. Though it is a documentary, it has the feel of fiction.
It tells the little known story of business consultant Michel Cojot, who was committed to tracking down and killing Klaus Barbie (“the butcher of Lyon”). Barbie was responsible for the deportation and ultimately the death of Cojot’s father in Auschwitz. But when Cojot was in shooting distance of Barbie, he couldn’t do it and tore himself apart for what he viewed as his cowardly indecision. For him, that indecision was both a personal and Jewish flaw.
Depending on your viewpoint, either through destiny or coincidence, a year later he found himself on the ill-fated Air France flight and was unwittingly given a second chance to redeem himself. And he did, facilitating relationships with the hijackers and pilot and flight crew. In so doing he negotiated a plan and retrieved information that played a major role in the successful outcome of the raid. Though the French government still hasn’t honored him Cojot, who died in 1999, found peace with himself as a Jew and a human being.,
It’s a theme that has an indefinite shelf life. And it couldn’t be more timely in light of the surge in antisemitism, the rift among Jews and the ongoing internal and external battle of what it means to be a Jew.
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