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A new film brings to life ‘the largest single work of art created by a Jew during the Holocaust’
(New York Jewish Week) — While hiding from the Nazis, the German Jewish artist Charlotte Salomon began a series of autobiographical paintings and texts with a painfully simple description of her aunt, and namesake’s, suicide: “Scene 1: 1913. One November day, a young girl named Charlotte Knarre leaves her parents’ home and jumps into the water.”
Intense and memorable, that image is the launching point for “Life? or Theatre?”, a series of hundreds of gouaches Salomon made between 1940 and 1942. Best described as an “autobiographical play,” it features personal stories illustrated with vibrant paintings and cues for music. Salomon, in her 20s when she made the body of work, called it a “singspiel,” a play with music.
And now, a new film directed by French sisters Delphine and Muriel Coulin, delivers a cinematic representation of her best-known work. “Charlotte Salomon: Life and the Maiden” will make its world premiere at Lincoln Center on Weds., January 18 as a centerpiece of the New York Jewish Film Festival.
The film lies somewhere between cinema and art installation: Aside from a brief opening and conclusion, Salomon’s expressive paintings take up most of the screen time. Sound design brings the paintings to life, as does the music Salomon indicated in her original script, along with text read by the actress Vicky Krieps (“Phantom Thread,” “Corsage”), who plays protagonist Charlotte.
“We didn’t want to make a pure documentary of her,” co-director Delphine Coulin told the New York Jewish Week. “What had never been done was to make a true film with the painting, the music and the text, and to imagine what Charlotte was visualizing when she was painting… Because the neighbors said they could hear her singing while she was painting.”
French sisters Muriel Coulin, left, and Delphine Coulin are co-directors of “Charlotte Salomon: Life and the Maiden.” (Richard Schroeder)
These days, Salomon — who died at Auschwitz at age 26 in 1943 — is something of a cult favorite among art lovers and Jewish historians. In a 2017 New Yorker article, writer Toni Bentley notes that “Life? or Theatre?” is “the largest single work of art created by a Jew during the Holocaust.” She is also sometimes compared to Anne Frank. Critics have noted this comparison does neither artist justice, distinguishing between the youthful directness of Frank’s writing as an adolescent in hiding with the more mature, sophisticated representations made by Salomon as a young artist.
Born in Berlin in 1917, Salomon grew up in a cultured German Jewish family. Her mother died when she was 8. She studied at the German capital’s prestigious Academy of Arts until the Nazis’ rise to power made it impossible for her to continue. In 1938, her father spent a brief period in an internment camp — after his release, he sent his daughter to stay with her grandparents in the south of France, where he hoped she’d be safe.
After Salomon’s arrival at Villefranche-sur-Mer in 1939, her grandmother attempted suicide and eventually died. Only then did Salomon learn that her mother had died by suicide as well, and that the women in her family had a history of depression (though it isn’t covered in the film, there is some evidence that her grandfather may have been abusive).
In “Life? or Theatre?” Salomon writes: “My life began when my grandmother ended hers, when I learned that my mother too had ended her life, and that deep down I felt the same predisposition to despair and death. I thought to myself: either I kill myself too, or I create something really crazy and extraordinary.”
For the next two years, Salomon did just that, creating some 1,300 paintings about her life in exile. She accompanied these paintings with text and musical cues that included Bach, Schubert, Mahler and the German anthem “Deutschlandlied,” creating an entire multimedia body of work.
As the Nazi grip tightened in France, Salomon, realizing the danger she faced, brought a box containing all her paintings to a friend, the town’s doctor. The film recounts what she tells him: “Take care of it. This is my whole life.” Just weeks later, Salomon, five months pregnant, was sent to Auschwitz, where she died on Oct. 10, 1943.
While Salomon’s work includes depictions of Nazis, antisemitism and persecution, the majority of “Life? or Theater?” — and therefore the film — is dedicated to the explosive inner life and autobiography of its creator. She explores suicide, Freudian lust, psychological distress, music, philosophy and her own artistic impulses.
Yet “Life? or Theatre?” is unmistakably a product of its time, and as such the film includes historical images of Hitler’s rise. Though the French filmmakers don’t identify as Jewish themselves, Delphine said that she and her sister have some Jewish family, and she noted the film’s content is more relevant than ever. “Antisemitism never did end, but now in France and in Europe, it is stronger and stronger than ever, since 1945,” she said. “We really see it and we talk to it nearly each day. We can’t ignore it.”
“With all these strange times we’re living in, Charlotte gives you strength, because she really crossed the times with a strong belief in art and love,” she added.
The film ends with astonishing footage from the early 1960s of Salomon’s father and stepmother, who survived hiding in the Netherlands, looking through their daughter’s paintings as they are interviewed about her. “I was surprised when I discovered her work,” says her father Albert Salomon. He had known nothing of his late daughter’s project until the couple visited Villefranche-sur-Mer after the war, hoping to find some traces of Charlotte’s life.
“The work is very, very vivid — very expressive of life in all its aspects,” said Delphine of Salomon’s art — and the Coulin sisters, in turn, were inspired to bring the work to a broader audience. In 2019, Muriel directed her first theater piece, “Charlotte,” a rendition of Salomon’s work for the stage that played in Paris at the Théâtre du Rond Point. When the COVID-19 pandemic shut down the production, the Coulins transposed their medium to film.
Delphine added that they were also drawn to what she called the “poignant story” of Salomon’s brief life, now immortalized by her singular creative impulse in the face of adversity.
“In difficult times — and her times were probably the most difficult times ever — she really believed in art,” she said. “How art makes you survive. How it can give you a piece of eternity. We wouldn’t speak about her this way if she had not been able to make this wonderful work.”
“Charlotte Salomon: Life and the Maiden” will screen on Weds., January 18 at 12:00 p.m. and 6:00 p.m. at the Walter Reade Theater at 165 West 65th St. For additional information on the New York Jewish Film Festival, which runs through Monday, January 23, click here.
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Arab Israelis Enjoy the Rights of Democracy — The Same Can’t Be Said for Citizens of Other Middle East Countries
A general view shows the plenum at the Knesset, Israel’s parliament, in Jerusalem. Photo: REUTERS/Ronen Zvulun
On October 13, the Israeli Knesset met to mark a ceasefire agreement between Hamas and Israel that included the release of Israeli hostages held by Hamas. Prime Minister Benjamin Netanyahu spoke first, for 30 minutes. Yair Lapid, representing the Opposition, spoke next, for 15 minutes. Then, President Donald Trump delivered a largely extemporaneous speech lasting a little more than an hour.
A few minutes into President Trump’s address, there was a disturbance, a common feature of Knesset sessions. Two elected members of the left-wing party, Hadash — Ofer Cassif, an Israeli Jew, and Ayman Odeh, an Israeli Arab — held up signs saying “Recognize Palestine.” After a few moments of shouting, the two were removed from the Knesset chamber. (Note: They were not arrested. They continue to represent their constituency in the Knesset.)
This kind of democracy and dissent would not be possible anywhere else in the Middle East or North Africa. None of the 22 states in the Arab League operate on the basis of free and open elections, and respect for civil liberties and fundamental political freedoms.
Indeed, several of these countries (Iraq, Syria, Lebanon, Yemen, Somalia, Sudan, and Libya) fit the category of “failed states” — unable to carry out fundamental functions, such as controlling borders.
Since 2006, the influential British news and business magazine, The Economist, has published a comprehensive annual Democracy Index, which analyzes in detail the democratic processes in 167 countries around the world. Based on 60 numeric scores, the rankings include five categories: electoral process and pluralism, functioning of government, political participation, political culture, and civil liberties.
Countries are divided into one of four regime types: full democracies, flawed democracies, hybrid (partially democratic) regimes, and authoritarian regimes.
The Democracy Index for 2024 lists 25 full democracies, 46 flawed democracies (including countries such as Israel, the US, France, and Italy), and 96 hybrid or authoritarian regimes. The Index gives an authoritarian score for Palestine.
A color-coded map of the world accompanies the Index report. Full and flawed democracies are dark blue and pale blue, respectively, while hybrid governments are yellow. Authoritarian countries appear light to dark brown.
Israel is not even visible from a quick glance at the map. To see Israel, one must either adjust the magnification of the computer image or use the “pinch to zoom” feature available with many devices. Only then does a little island of blue become visible amid a vast sea of brown.
In fact, the only Arab people in the Middle East or North Africa who have experienced what it is like to live in a democracy are the more than two million Arab citizens of Israel.
In a blog he wrote in The Times of Israel, Bassem Eid, a Palestinian activist and writer who monitors human rights abuses by Hamas and the Palestinian Authority, writes that, as in other western democracies, Israeli Arabs “can vote in elections, own businesses, work, speak, and worship freely, wherever in Israel they call home.” To Eid, Israel is the best place to be an Arab.
Meanwhile, Ayman Odeh, leader of the Hadash party (yes, one of the Knesset members ejected during the Trump visit) has been working to establish a unified slate of Arab parties (a Joint List) in preparation for the next Israeli election. A unified party would energize Arab voters, increase the community’s political influence, and possibly lead to Arab participation in the government, as was the case during the short-lived Bennett-Lapid coalition that preceded the current Israeli government.
The Arab people of Israel know that Israel is a thriving, diverse, and democratic country, and that it includes a thriving Arab population. Or, as Bassem Eid puts it, Arabs have been fortunate to call Israel home.
Jacob Sivak, a Fellow of the Royal Society of Canada, is a retired professor, University of Waterloo.
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Rabbis and other Jewish New Yorkers join Mamdani’s 400-member mayoral transition committees
(JTA) — Five local rabbis are among the more than 400 New Yorkers tapped for New York City Mayor-elect Zohran Mamdani’s transition committees, the teams tasked with preparing his administration ahead of his Jan. 1 swearing-in.
They include Abby Stein, who appeared in “Jews for Zohran” campaigns and shares the mayor-elect’s anti-Zionist outlook, on the health committee; Ellen Lippman, who recently retired from Kolot Chayeinu, the Brooklyn congregation where Mamdani attended Rosh Hashanah services, on the social services committee; and Rachel Timoner, whose Park Slope synagogue Congregation Beth Elohim hosted Mamdani for a meeting with congregants, and Jason Klein, who helms the LGBTQ synagogue Congregation Beth Simchat Torah, on the immigrant justice committee.
Rabbi Joseph Potasnik, executive vice president of the New York Board of Rabbis, sits on the emergency response transition committee. He is the only Jewish clergy member to join the transition committees of both Mamdani and Mayor Eric Adams, whom Mamdani unseated.
Adams’ 700-member transition team had a clergy committee with 16 rabbis from across denominations, including several from the city’s Modern and haredi Orthodox communities. Mamdani does not have a clergy committee and there are no Orthodox rabbis on any of his committees; during the campaign, he drew criticism from a wide array of rabbis over his stances on Israel, and received little support from Orthodox voters.
The transition committees advise on policies, vet personnel and broker relationships between the incoming administration and New Yorkers. Mamdani’s appointees range from traditional leaders, such as Kathryn Wylde, the longtime head of the city’s fundraising nonprofit, to those who traditionally have lacked power in the city — including representatives of the Democratic Socialists of America, the left-wing movement where Mamdani cut his teeth and which is vying to sustain influence as he assumes the mayorship. Mamdani has two committees, on worker justice and community organizing, that have not before been part of a mayoral transition.
Other notable Jews on the transition committees include Jonah Boyarin, a member of Jews for Racial and Economic Justice who helped craft city antisemitism trainings, on the community safety committee; Ruth Messinger, the former leader of American Jewish World Service, on the immigrant justice committee; Masha Pearl of the Blue Card, which supports needy Holocaust survivors, on the social services committee; and Mamdani’s high school teacher Marc Kagan on the transportation committee.
Also on the committees are a number of prominent New Yorkers who are Jewish but who have not made their Jewish identity a primary feature of their public personas.
The post Rabbis and other Jewish New Yorkers join Mamdani’s 400-member mayoral transition committees appeared first on The Forward.
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Bipartisan bill in Congress would create ‘Jewish Refugee Day’
(JTA) — The United States would recognize Nov. 30 as “Jewish Refugee Day” under a bipartisan resolution sponsored by two Jewish members of Congress.
Debbie Wasserman Schultz, the Florida Democrat, and Texas Republican Craig Goldman submitted the resolution on Friday, saying that the day would be known by both its English name and the Hebrew translation, Yom HaPlitim.
“I was proud to introduce a bipartisan resolution with Rep. Craig Goldman to honor Yom Haplitim and Jewish communities forced out of North African and Middle Eastern countries where they lived for millennia after Israel became a country,” Wasserman Schultz said in a statement to the Jewish Telegraphic Agency. “Their resilience is inspiring and a testament to the improbable survival of Jewish people throughout history.”
Wasserman Schultz, who was the first Jewish woman elected to represent Florida in Congress, initially introduced a similar resolution in 2024, but it expired before the start of the new Congress. She was the sole sponsor of that resolution.
The holiday, which was first adopted by Israel in 2014, commemorates the departure and expulsion of roughly 900,000 Jews from Arab countries following the founding of the state of Israel.
The date Nov. 30 was selected by the Israel’s parliament, the Knesset, because it follows the date on Nov. 29, 1947, when the United Nations approved the partition plan for the Palestine Mandate and the creation of Israel, which spurred hostility toward Jews in Arab nations.
In 2021, the first physical memorial for the mass expulsion was erected in Jerusalem by the Jewish American Society for Historic Preservation.
The resolution states that Congress “continues to support the security of the State of Israel and the Jewish people around the world.” It also calls for “educational efforts throughout the United States, the Middle East, and North Africa to teach the history of the forced displacement and exile of the Jewish people.”
“Recognizing Jewish Refugee Day helps to ensure that Congress continues to bring awareness to the history of antisemitism and stand with the Jewish community around the world,” said Wasserman Schultz.
The resolution was referred to the House Committees on the Judiciary, Education and Workforce and Foreign Affairs for consideration.
The post Bipartisan bill in Congress would create ‘Jewish Refugee Day’ appeared first on The Forward.