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A Jewish producer of ‘All Quiet On The Western Front’ sees his family history in the Oscar-nominated Netflix film
(JTA) — The film producer Daniel Dreifuss has only one surviving photo of a distant relative: his grandfather’s cousin, who fought for Germany in World War I and died in combat two days before the war’s end.
He has a few more photos of his grandfather, who also wore the German uniform in WWI — only to be rounded up by the Nazis two decades later during Kristallnacht and thrown into a concentration camp, as even the Jews who had fought for their country were not safe from its campaign of race extermination.
Dreifuss, who was raised in Brazil after his surviving ancestors fled the war to Uruguay, held up these weathered black-and-white photos to his Zoom camera as he spoke to the Jewish Telegraphic Agency from his home in Los Angeles. One shows his grandfather’s cousin in his military uniform, the other shows his grandparents posing together, between the wars.
“Twenty years later, your country, that you just gave your health for and your cousin for and your family for, sends you to a camp,” he said. “It’s a lot of trauma to have to go through in one lifetime.”
These family stories echoed through Dreifuss’ mind when he first read the script for a proposed modern take on “All Quiet on the Western Front,” the classic 1928 novel about the German army’s hellish experiences during World War I. Nearly a century later, author Erich Maria Remarque’s descriptions of trench warfare and of the utter lack of heroism, valor or patriotism felt by its soldier protagonists resonated with Dreifuss.
“I said, ‘I know these people,’” he recalled. “Not because they are some distant relatives that I’ve heard of, but because I am the grandson of one of those kids who were in the film.”
Dreifuss’ parents met at a Jewish youth group in Rio de Janeiro in the 1960s. “My father was my mother’s madrich,” he recalled, using the Hebrew word for a youth group counselor. After they were later married, they moved to Israel partially to avoid Brazil’s military dictatorship and became left-wing political activists. They left Israel just before the Yom Kippur War and relocated to Scotland, where Dreifuss was born, before returning to Brazil to raise him.
Dreifuss had his bar mitzvah in the city of Belo Horizonte before later moving to Rio, which has a much larger Jewish community. “My family was never at all religious, but culturally Jewish,” he said, recalling Passover celebrations and gefilte fish recipes. He did not have many Jewish friends growing up, but his Brazilian friends were interested in Judaism and would attend his family’s Jewish events.
Daniel Dreifuss, a producer of Netflix’s “All Quiet on the Western Front,” holds up a photo of his grandfather Max Dreifuss from 1919, recovering from his German military service in WWI. Max was sent to a concentration camp once the Nazis took power. (Courtesy of Daniel Dreifuss)
This global upbringing is reflected in Dreifuss’ interest in international film. It took a decade for him to mount his remake of “All Quiet,” which was eventually set up with a German production company and released by Netflix this past fall amid another endless military conflict in Europe. No one, he said, wanted to fund a resolutely anti-war film that refused to glorify its combatants, a film that was “never a hero’s journey, not the story of someone who came, you know, beat 1,000 people with their bare hands, triumphs and looks down on top of a hill at the end with some sweeping score.”
But that journey has been validated by the film’s impressive Oscar total, which surprised industry observers. At the nomination ceremony last month, “All Quiet” received nine total nods, the second most of any film this year, including for best picture — which the novel’s original 1930 Hollywood adaptation, directed by Jewish filmmaker Lewis Milestone, won. (This year’s Academy Awards will be held March 12.)
Considering the Nazis had once led a campaign of book burning against the source material and terrorized German movie theaters that showed the original movie adaptation, accusing it of being a “Judenfilm,” Dreifuss sees the new film’s success as a historical victory, too. “I love that my name will be associated with a story that was deemed degenerate by that regime,” he said.
When he was first presented with an early draft of the new “All Quiet” script, in 2013, Dreifuss was coming off of the success of another international historical film he had produced. “No,” a 1980s-set Chilean political drama, starred Gael Garcia Bernal as an ad executive tasked with convincing his country to vote the dictator Augusto Pinochet out of office. The film netted Chile’s first-ever Oscar nomination for international feature film, although Dreifuss himself is not Chilean.
In researching “No,” Dreifuss said, the film’s team had trouble finding Chileans who would admit to having cast their real-life vote in Pinochet’s favor — even though 40% of the population did so. “We couldn’t find one single person who supported him,” he recalled. “At some point, years later, no one wanted to say, ‘I supported it, I voted, I was on that side.’” He saw a parallel to the history of geopolitics in the run-up to WWII, when many Western countries — including his family’s adopted homeland of Brazil — were initially sympathetic to the Nazis.
When Hollywood studios turned down the proposed remake of “All Quiet,” forcing Dreifuss to turn to European financing, he saw an opportunity to mount the first-ever German adaptation of the property, which would allow the film to open up a “historical perspective” on how the aftermath of WWI led to the rise of the Nazis and the Holocaust.
German filmmaker Edward Berger, who also helmed several episodes of the espionage miniseries “Deutschland 83,” stepped into the director’s chair, and he also has a co-writing credit. German star Daniel Brühl, who has played many historical villains to the Jewish people in films ranging from “7 Days in Entebbe” to “The Zookeeper’s Wife,” took a key supporting role as the lead negotiator for the armistice agreements — the sole figure in the movie trying to find a peaceful resolution for his country. (The historical figure Brühl portrays, Matthias Erzberger, was vilified as a traitor by the German right and assassinated in 1921 by antisemitic nationalist radicals who were precursors to the Nazis.)
Though there are no explicitly Jewish characters in the film, Dreifuss believes it still speaks to the fate that would soon await Europe’s Jews.
“We know what followed in the decade in Germany,” he said. “So we could bring that to the film in subtle ways.”
He pointed to the armistice plotline that foreshadows how the Treaty of Versailles left Germany in a deeply disadvantaged position, creating an opportunity for Hitler’s brand of national populism. There are also scenes in which thoughtless German generals, driven by nationalistic fervor and wounded pride, send entire squadrons to their deaths mere minutes before the armistice is set to take effect. In one sequence, the film’s lead, the soldier Paul (Felix Kammerer), steals a goose from a French farming family of non-combatants and says: “It’s a hatred of the other, of not understanding, of being raised to have an enemy.”
Dreifuss is dipping into a different chapter of world Jewish history with his next project: a Showtime miniseries produced with the co-creators of the Israeli Netflix series “Fauda” that explores CIA operations in the Middle East and is partially set during the Lebanon War in which Israel had a heavy, and oft-criticized, military presence. The series will air this summer.
He has also been pitched a host of WWI and WWII-related projects in the wake of the success of “All Quiet.” But, he joked, “I would love for people to not only think of me as the war guy, or as the dictator guy.”
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The post A Jewish producer of ‘All Quiet On The Western Front’ sees his family history in the Oscar-nominated Netflix film appeared first on Jewish Telegraphic Agency.
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Looking for snow in August: My lifelong obsession with the Irish
According to the 11th-century set of Irish texts known as Lebor Gabála Érenn, or The Book of the Invasions of Ireland, there once lived a man called Fénius Farsaid — “Irishman the Pharisee.”
If the weirdness of this name is not hitting home for you, it’s a bit like if I told you my name was “Jewess the Druid.” “Fénius,” a predecessor of the modern word “Fenian,” connotes an Irish person. “Farsaid” is the medieval Irish word for “Pharisee.” Though the term is now mostly reserved for insulting hypocrites in an obscure way, in biblical times it referred to a strict Jewish sect active in ancient Judea.
How did this early example of Irish-Jewish crossover earn his name? Lebor Gabála Érenn reports that he was one of the 72 chieftains who built the Tower of Babel. When it crumbled and God cursed humankind with multilingualism, he set up camp in the Tower’s remains and ordered his scholars to go out and study the babble of the world’s newborn languages. On his own, he explored Hebrew, Greek and Latin alphabets (hence the “Farsaid”). As a capstone project, Fénius blended together the best elements of all the world’s languages to make the perfect tongue: Irish (hence the “Fénius”).
Fast forward almost one thousand years after Lebor Gabála Érenn was written, and you get me, Fénius Farsaid in reverse: he was an Irishman interested in the Jews; I am a Jewish woman fascinated by the Irish. There are many ways to measure a life, but mine might as well be thought of as a 22-year-long montage of fanatical Irish-themed memories: as a child, reading Maeve Binchy’s Chestnut Street and Frank McCourt’s Angela’s Ashes; as a tween, writing a racy work of historical fiction called Ballyhill inspired by the Irish Rebellion of 1798; as a teen, shaking my computer in rage when 23 & Me reported I was 0% Irish; as a young woman, discovering Seamus Heaney, W. B. Yeats, James Joyce and Maggie O’Farrell; and as whoever I am now, writing this confessional essay.
I do not know when or how this obsession took root, though some evidence suggests that I have a genetic predisposition towards loving the Irish. The story goes that my great-great grandfather Barnett Shapiro did not know his birthday. But on his way from Poland to America, he passed through London, where he mixed with Irish immigrants in the East End. He found them so delightful that when he arrived at Ellis Island and was asked his birthday, he, a Jewish man whose first language was Yiddish, proudly declared he was born on St. Paddy’s Day, 1888.
This recessive shamrock gene skipped a generation and reappeared in my Grandpa Barry, or “Gramps.” When I was 12 or so, he presented me with a copy of Snow in August, a novel by the Irish-American journalist and novelist Pete Hamill, a man as tender as he was hard-boiled. According to the book’s back cover, I could expect a tale of an unlikely, Brooklyn-bred friendship between a young Irish-American lad named Michael Devlin and an Orthodox rabbi named Judah Hirsch. I admit I was skeptical. Gramps had already busted his credibility several times by hounding me to read his personal favorites like Young Visitor to Mars, Hardy Boys and back-issues of Flash Gordon. But against my better judgment, I read the book. And then I read it again.
It’s hard to say why this book etched itself into me so deeply. Maybe as a fifth-generation Brooklyn Shapiro, I was hard-wired to like it. But what I remember best about the book is not the plot or any particular line, but how I felt while reading it. Snow in August made me feel that magical realism was not exclusive to jungle climates like Gabriel García Márquez’s Macondo, or Italo Calvino’s invisible cities. There were labyrinths of wonder built right under Brooklyn, like a subway system for the spirit. Pete Hamill taught me how to hear the rumble. In his Brooklyn, it was possible for a golem to rise up against your tormentors, for the dead to return for a final dance, for snow to fall in the middle of August.
Maybe you’ll be relieved to hear that in the 10 intervening years since I first read this book, I’ve tempered my admiration of the Celts by finding some Irish literature that enrages me. In my freshman year of college, I read James Joyce’s Ulysses and wanted to clobber him with it. At the recommendation of my playful Bronxonian druid of an English teacher, Ted Cleary, I read Flann O’Brien’s experimental novel At Swim-Two-Birds and was wracked by alternating warp-spasms of amusement and fury. (As Oscar Wilde, another great Irishman-of-letters, would say, “When critics disagree, the artist is in accord with himself.”)
But most recent and vivid among my Irish memories is the pilgrimage I made to peaty Erin this past March. I had been in Oxford for a term abroad, and when the “vac” (British for “vacation”) struck, my friends Cindy, Gemma and I set out for the stretch of western Irish coastline known as the “Wild Atlantic Way.” We walked the misty Cliffs of Moher, where we were attacked by angry winds. We took refuge in pubs and soaked up pints of Guinness, plates of beef stew and hours of foot-tapping fiddling sessions that gave enthusiastic tourists and taciturn locals a reason to engage with each other. We rode a see-sawing ferry to the Aran Islands and back, and learned that time works differently when you’re on the brink of barfing.
When I think of that week in Ireland, I remember the horizon at sundown. Behind the dark green hills, the clouds looked like silhouettes of other hills somewhere far away. The wind plunged down my collar and shimmied up my pant legs. I could see no end to the ocean, only the thin line where sky and water met in some unreachable place. I feared the vastness of the world, and loved it at the same time.
In a way, that wild Atlantic scene was repeating what many Irish writers had been trying to tell me for years: Life is immense, often surprising, and occasionally tragic. Still, why not hope? The words of Seamus Heaney’s poem “The Gravel Walks” provide a lodestar for living: “Walk on air against your better judgment.”
Poetic spirits in the Jewish world have come to uncannily similar conclusions. Rabbi Abraham Joshua Heschel once described himself as “an optimist against my better judgment,” a parallel with Heaney that might have delighted Fénius Farsaid. Even a central premise of Judaism — that the messianic age when “nation will not lift up sword against nation” will arrive someday — would be impossible without a commitment to walking on air against your better judgment until that day comes.
Nobody is born knowing how to walk, let alone knowing how to walk on air. But in his poem “The Cure at Troy,” Seamus Heaney describes how to take those first steps —
“So hope for a great sea change
On the far side of revenge.
Believe that a further shore is reachable from here.
Believe in miracle
And cures and healing wells.”
Believe that snow could come next August.
The post Looking for snow in August: My lifelong obsession with the Irish appeared first on The Forward.
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When does Shabbat end? This astrophysicist thinks we’ve been getting it wrong
Aster Taylor observes Shabbat on their own time — literally.
For the past year, Taylor, a Ph.D. candidate in astrophysics at the University of Michigan, has been keeping Shabbat according to a schedule they devised using astronomical data.
So this Saturday, when Chabad of Ann Arbor says Shabbat will end at 9:09 p.m., Taylor will observe for nearly 11 more minutes. Where does Taylor, 25, get the chutzpah to challenge longstanding Jewish tradition?
“We live in the modern world. We have computers, we have catalogs of all the stars, and especially in the 80s, the construction of more significant telescopes,” Taylor told the Forward. “We have a pretty good understanding of how the sky affects our vision. So we can now just calculate this, right?”
They might have a point. In true “two-Jews-three-opinions” fashion, there’s actually no universally accepted time that Shabbat ends. But most people can agree on this: Shabbat ends at nightfall, defined by the Talmud as when three medium-sized stars in close proximity to one another are visible to the naked eye.
But what defines a medium-sized star and how close is close enough? Whose eyesight should be trusted? Those answers are not clear, leaving it up to rabbis to impart practical guidance.
Since without astronomical expertise, determining which stars make the grade is pretty difficult for the “average Joseph,” rabbis rely on proxy criteria. Today, many Orthodox communities use a standard credited to the venerable Rabbi Yechiel Michel Tucazinsky, who in 1929 determined three stars are visible when the sun sets 8.5 degrees below the horizon. Others follow the teachings of the 12th-century Rabbeinu Tam, who places nightfall 72 minutes after sunset.
But those approximations didn’t satisfy Taylor, an aspiring professor currently writing their dissertation about giant planet formation. Taylor craved a more scientific approach.
So for a few nights over several months, Taylor went to a local park, sat at a picnic table and every two minutes measured the sky’s brightness with a light meter.
Taylor settled on a brightness standard for a medium star — between magnitude 2 and 3 — and determined that three stars of that brightness need to be within 10 degrees of one another, close enough that an observer could see all three stars without moving their eyes.
Taylor then built a computer model to determine when three stars that meet those conditions become visible, taking into account various atmospheric conditions. That model became a web app that calculates Shabbat times for any given location and elevation.
The results were striking. Based on Taylor’s calculations, Shabbat should often end around 10 minutes later than the time given by the conventional approximation — no small discrepancy for those who faithfully observe the Sabbath.
Taylor’s computations are intriguing Jewish scholars. Masorti: The New Journal of Conservative Judaism has agreed to publish Taylor’s research paper on the topic this winter.
The Forward also shared Taylor’s findings with two rabbis: Yaakov Hoffman of the modern Orthodox Bridge Shul in Washington Heights, who wrote a scholarly article about Shabbat’s end, and Jack Shlachter — who in addition to being a retired rabbi in Los Alamos, New Mexico, just so happens to have a Ph.D in physics.
Both were impressed. “There’s always room for science to enhance these practices,” Shlachter said. “This author is doing things in a very admirable fashion — trying to be fully aware of tradition, but also incorporating more modern, sophisticated techniques.”
Hoffman said it was “very impressive” that Taylor “was trying to research these things from a contemporary astronomical perspective, and to really put so much effort and passion into accurate determination of the time.”
If Taylor “wants to add a few minutes to Shabbat,” he added, “that doesn’t bother me.”
What if Shabbat never ends?
As any city dweller knows, the stars don’t exactly come out in force at night.
Once Taylor factored light pollution into their calculations, it produced a somewhat uncomfortable result. In New York City, Taylor said, light pollution is so intense that three medium stars in close proximity will never be visible this year. In Jerusalem, only a few months of the year offer enough clear visibility to see Taylor’s criteria.
“The conditions that end Shabbat are never met,” Taylor said, “which is obviously a problem.”
Taken literally, that would mean endless Shabbat. In his paper, Taylor wrote that such a scenario would “require most observant Jews to quit their jobs, refrain from cooking, and spend their time studying Torah.” That would be both “unrealistic” and “lessen the sanctity” of the Sabbath, Taylor wrote.
Fortunately, there is a rabbinic workaround that dates back long before the age of light pollution.
The 16th-century Rabbi Yosef Karo wrote that on a cloudy day, one should wait to end Shabbat until “the doubt leaves his heart.” In other words, wait long enough after sunset to be certain that the stars theoretically would have been visible on a clear night.
Taylor agrees that the same principle for clouds can be applied to light pollution. But they argue that it’s still worth knowing just how much the modern night sky has changed.
Light pollution isn’t the only factor messing with the Jewish clock. President Trump is urging the Senate to pass a bill that would make daylight savings time permanent — a measure which many Orthodox Jews oppose because a later winter sunrise would mean a later morning prayer service, making many Orthodox Jews late for work.
But it also would also push Shabbat an hour later, which could mean a less frantic rush to get home before sunset on wintertime Friday afternoons.
Those potential changes raise a broader question. As modern life becomes increasingly divorced from the natural rhythms of the Earth, to what extent should Jewish practice evolve?
Taylor, who attends a Conservative synagogue, said they’re in favor of maintaining Jewish tradition when possible — but that doesn’t mean it can’t also be improved.
“We should be using a calculation like this in communities in the future,” Taylor said. “It’s a strict upgrade to the way we’ve been doing things in the past, and so I’m hopeful that we’ll start using this more widely.”
Paradoxically, in Taylor’s case, they believe modern technology enabled them to get closer to the literal meaning of the traditional text. It was the ancient rabbis, lacking that science, who had to settle for the next best thing.
The post When does Shabbat end? This astrophysicist thinks we’ve been getting it wrong appeared first on The Forward.
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Do you suffer from ‘Israel Derangement Syndrome’? This ad says there’s a cure
It opens like a two-minute infomercial pulled off a 1990s VHS tape. Soft lighting, Clinton-era fashion, a narrator whose voice has the reassuring cadence of a prescription drug ad. “Do you or someone you love suffer from Israel Derangement Syndrome?” he asks.
The two-minute ad has become one of the most-shared clips on Jewish and pro-Israel social media this week — posted Wednesday morning, it garnered 2.6 million views on X by Thursday afternoon.
“Israel Derangement Syndrome” is presented like a real illness, complete with a fictional treatment center, the Clarity Center, and patients who describe “recovering.” The “symptoms” are a list of ways people criticize Israel and its supporters — bringing up the conflict unprompted, refusing to see any other issue in the world as important, being unable to acknowledge nuance. The “cure,” according to the ad, is just reading more and checking your sources. It ends with a rapid-fire list of side effects: “reading past the headline, a sudden interest in Middle East history, and a constant urge to touch grass.”
The ad’s target is obvious: people who are sharply critical of Israel. The name isn’t new. It’s modeled on “Trump Derangement Syndrome,” a term used to dismiss criticism of the president as pathology.
Why it lands the way it does
Anita Atwell Seate, a professor of communication at the University of Maryland who studies how people’s group identities shape the way they respond to criticism, called what’s happening in the video a textbook case of tribalism.
Our group memberships, she said, shape our psychological processes, since they’re so tied to our sense of self. That pushes us to process information in self-protective ways: “When we feel good about our social groups,” she said, “we feel good about ourselves.”
There’s a well-documented pattern researchers call the “intergroup sensitivity effect,” where people are far more willing to accept criticism from members of their own group than from people they see as outsiders. When criticism comes from outside, the instinct isn’t to engage with it; it’s to discredit whoever’s delivering it. “They’re deranged, they don’t understand facts,” Atwell Seate said, describing that reflex, which is more or less the whole premise of the ad.
She doesn’t see the video as an attempt at persuasion at all. “It doesn’t do anything to help change hearts and minds of the out-group,” she said “But it certainly does something important for the in-group, which is reify their beliefs.” Videos like this, she says, are like a pep talk — aimed at people who already agree, meant to bring them closer together.
Where it came from
It’s not entirely clear who actually made the video. What’s clear is that it was shared — and got millions of views — from an X account called the Trencher Broadcasting Company, whose bio reads: “Building the future of AI media. Mostly satire, always entertaining.” It appears to have been made with AI video tools, part of a broader wave of AI-generated political videos that have flooded social media this year.
TBC has posted this kind of thing before. Last week, the account shared an AI-fabricated video appearing to show Michigan Senate candidate Dr. Abdul El-Sayed and YouTube personality Ms. Rachel discussing Israeli “colonizers” with children — a conversation that never actually happened.
Ms. Rachel had, notably, donated to El-Sayed’s campaign, and both have been outspoken advocates for children in Gaza, which may have inspired the video.
The “Israel Derangement Syndrome” video ends with a display of fake contact info, which comes with its own punchline.
Call the phone number and it’s like spinning a roulette wheel. The first time I called, the robotic voice wanted to sell me a home security system. The second time: a medical alert device. And the third time, I got this message: “If you received a call displaying this telephone number on your caller ID, it has been spoofed, meaning the caller ID has been faked by a scammer trying to hide their actual telephone number. We are sorry this is occurring. Unfortunately, we cannot stop this from happening.”
The ad also promotes a website IDSHelp.org, a domain that was registered on Tuesday and redirects to DerekhLearning.com, the homepage of an AI-powered app for studying Torah and Talmud. It’s a fitting coda for a video built around telling people to check their sources.
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