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Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor
(New York Jewish Week) — Bob Gottlieb, who as editor-in-chief of Simon & Schuster, Alfred A. Knopf and The New Yorker ushered into print some of the 20th-century’s most accomplished writers — Nora Ephron, Toni Morrison, Salman Rushdie, John Cheever and Ray Bradbury, to name a few — believes editing is a service job, one that should go unnoticed by the reader.
And yet, it is the relationship between editor and writer that his daughter Lizzie Gottlieb, a documentary filmmaker, explores in her latest film, “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” which premiered at the Tribeca Film Festival in 2022 and is now screening at theaters across the country.
Lizzie’s documentary sets out to explore the sometimes tense but ultimately caring relationship between her father, Bob, and one of his longest running authors, Robert Caro, who over the course of 50 years has produced “only” five major books: “The Power Broker,” a classic biography of urban planner Robert Moses, and four volumes of “The Years of Lyndon B. Johnson.”
Jews born and raised in Manhattan, Caro and Gottlieb have worked together since Gottlieb helped cut 350,000 words out of the first draft of “The Power Broker,” bringing it down to a book that ultimately ran 1,338 pages when it was published in 1974.
The thing they squabble over most often? Semicolons, still. Or, maybe, Caro’s overuse of the word “looms.”
The film, seven years in the making, takes on the ways Moses shaped New York City, the mysteries of LBJ’s political power, the sausage-making of bestselling books and the idiosyncrasies of two workaholics. It is also a story of two now elderly men — Caro is 87, Gottlieb is 91 — in what Bob Gottlieb calls an “actuarial” contest to finish Caro’s highly anticipated fifth volume of his Johnson biography.
“My dad and I are very close. We’re in constant contact with each other. If something funny happens, I call my dad. If something sad or confusing happens, I’ll call him. We’re just in each other’s lives all the time, so I didn’t feel that there was a secret I needed to uncover or something unexamined in our relationship,” said director Lizzie Gottlieb, who also teaches documentary filmmaking at the New York Film Academy.
“But the one thing I really knew nothing about in his life was his relationship with Bob Caro,” she said. “Because it was so different from anything else, and it was so kind of private. So really, the whole movie is the process of me understanding something that I didn’t understand before.”
The New York Jewish Week recently caught up with Gottlieb to talk about the making of the film, what it was like growing up in a high-profile family and how Jewishness impacts the work of the two men.
This interview has been lightly edited for length and clarity.
Lizzie Gottlieb is a documentary filmmaker who previously directed “Today’s Man” (2008) and “Romeo Romeo” (2012).
New York Jewish Week: You’ve been working on this movie for seven years. When did you realize you needed to make this movie and how did it get from start to finish?
For a long time, people would say to me, “You should make a film about your father.” I have an incredible father. He’s done a lot of great things. He’s interesting and funny. But I just thought, a film whose message is “look how great my dad is” is not a movie that anybody wants to see.
And then my father was given some award and Bob Caro was presenting the award. Bob Caro gave a speech about working with my dad over what was then 45 years. He talked about how he needs him, and he respects him and how they’re so productive. Then he started talking about their arguments. Somebody in the audience asked what they fought about and he said, “We have very different feelings about the semicolon.” Everybody erupted into laughs and it just hit me like a bolt of lightning. I thought, “This is the movie, this is the story.”
I wanted a story that had forward momentum and had something big at stake. A film about two men in their 60s who had done a lot of great stuff is not that interesting. But a film about two men who are hovering around 90 and are still in it, and engaged in their work, who have a dedication and passion and are in a race against time to finish their life’s work, felt really, really compelling to me.
People say, “Are you sure you should be wasting [Caro’s] time with a movie? He needs to be writing.” My producer Jen Small said we should put on the poster, “No Lyndon Johnson books were harmed in the making of this film.”
Do you think you had a perspective that made you the best person to try and talk about their relationship and document it, or was it challenging to make the leap of them being willing to open up to you?
There was definitely a pursuit of them. I called my father and I was like, “I have the best idea ever. I’m going to make a film about you and Robert Caro.” He said, “No way. Absolutely not. Never. It would not be good for our relationship.”
I just kept pestering and pestering and pestering him. Finally, he said I could call Bob Caro but he would say no and of course Bob Caro did initially say no. Then he said that he’d seen another film of mine and I could come and speak to him. Eventually, Caro said, “I’ve never seen a film about a writer and an editor, and I think this could be meaningful. I don’t think anyone’s ever seen this before.” So he let me start, but he had this kind of hilarious condition, which was that he didn’t want to ever appear in the same room as my father. That seemed funny and a little maddening and sort of endearing. It also seemed like an irresistible challenge to try to make a buddy film where they don’t appear in the same room as each other. A woman came to a screening recently and she said, “It’s a love story, and they don’t get together until the last scene.”
They both say that somehow the making of this movie has brought them closer together and that they have developed a real friendship after 50 years. Maybe just having to articulate what their relationship has meant to each other has made them appreciate it more.
What was it like to grow up in your household, with your father as this major editor and your mother (actress Maria Tucci) on Broadway?
I grew up in a really incredible household. My mother’s an actress, my father’s a publisher and editor. Our house was this kind of vibrant, boisterous household that was always filled with eccentric, incredible people — actors and writers. My dad’s writers would come for dinner and then my mother would go off and do a play on Broadway and then come back at midnight and make another dinner. It was incredible. So I feel that both of their work was kind of integrated into our life and into our family. All of his writers were really like family members, except for Bob Caro, who never came over and who I never met. I think that there’s something particular and peculiar about their relationship that they needed to stay apart and only come together over work. I guess that was something that intrigued me and that’s part of why I wanted to make the movie.
“Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” (Courtesy Tribeca Film Festival)
The Jewishness in the film is a bit more implicit, though you discuss it when talking about their upbringings. How do you think their Jewish identities have impacted their work?
I don’t want to presume to speak for either of them about their Jewishness. I know they both very strongly identify as New York Jews, which probably means something slightly different to each of them, but I think it’s essential to their definitions of themselves. Their humor may be particularly Jewish as well. David Remnick uses a word at the end of the movie, where he says Caro needs to have “sitzfleisch” in order to finish the book. It’s this Yiddish [and German] word that means the ability to sit for long, long periods of time and apply yourself to something. I think that that is something that these two guys have: It’s almost a Talmudic focus on their craft, and without that they wouldn’t be who they are. So to the extent that that’s a Jewish quality, I think that’s essential to their being, to their achievements. There’s something like a Talmudic scholar in going over all these things, the industriousness and the empathy as well, this sort of looking at a thing from all sides and dedicating yourself to this pursuit.
Bonus question: You briefly show the various eccentric collections your dad has, including plastic handbags and kitschy Israeli record albums from the ’60s and ’70s. What is that about?
Yes, he has a lot of collections. He also has a collection of macramé owls. There are many that are not in the movie. Maybe that’s a Talmudic thing as well, like a deep dive into whatever it is that is interesting to him. He says that every subject gets more interesting the deeper you get into it. When something strikes him as charming or funny or curious, he goes all the way with it. My mother doesn’t love them. There’s a little bit of a power struggle there, but he wins. You grow up with something and you don’t really think about it. But I knew I had to find a way to put this in the movie. People kept saying it’s irrelevant, it’s to the side, but I knew I had to because it’s so weird and says so much about him.
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Javier Bardem Slams Trump, Netanyahu for Iran War Before Declaring ‘Free Palestine’ at Academy Awards
Javier Bardem and Priyanka Chopra Jonas on stage during the Oscars show at the 98th Academy Awards in Hollywood, Los Angeles, California, US, March 15, 2026. Photo: REUTERS/Mike Blake
Spanish actor Javier Bardem protested the US-Israeli war with Iran while speaking to reporters on the red carpet at the 98th Academy Awards on Sunday night, before taking to the stage at the awards show in Los Angeles and declaring “Free Palestine.”
The Oscar winner, 57, attended the ceremony at the Dolby Theater wearing on his tuxedo lapel a pin that said, “No a la Guerra,” which in Spanish means, “No to War.” He wore the same pin in 2003 to protest the US invasion of Iraq.
The “F1” star has been a vocal critic of Israel’s military actions in the Gaza Strip during the Israel-Hamas war and has publicly voiced support for a “Free Palestine” several times in the past. While speaking to reporters at the Academy Awards, he blasted the US and Israel for their joint strikes against Iran, specifically calling out US President Donald Trump and Israeli Prime Minister Benjamin Netanyahu.
“I’m wearing a pin that I used in 2003 with the Iraq war, which was an illegal war,” Bardem told The Hollywood Reporter on Sunday night on the Oscars red carpet. “And we are here, 23 years after, with another illegal war, created by Trump and Netanyahu with another lie, which is to defeat the regime. But they are radicalizing the regime by their horrific actions. So that’s not the reason, as it was not the reason weapons of mass destruction in 2003.”
Bardem also wore to the Oscars this year a pin in support of Palestinian resistance on his tuxedo lapel. On the pin was a drawing of Handala, a character created by Palestinian newspaper cartoonist Naji al-Ali in 1969. Handala is a 10-year-old Palestinian refugee who is turning his back to the world and has become a long-standing symbol for Palestinians. Bardem said it is a “Palestine symbol of resistance.”
Later on in the evening, while co-presenting the award for best international feature film with actress Priyanka Chopra Jonas, Bardem made more political comments, but this time about “Palestine.” When he walked on stage, the first thing he said was, “No to war. Free Palestine,” before presenting the nominees for the category.
After getting off stage, he told Variety he felt compelled to take about the “injustice” he feels is taking place in the Middle East. “Which in this case is the genocide in Palestine that is still going on … what is going on in the West Bank, the abuse of civil rights and human rights and ethnic cleansing,” he added. “It’s horrible … and then the illegal war [in Iran].”
“They are not defeating any regime, they are radicalizing the regime, bombing innocent people,” Bardem claimed about the US-Israeli joint strikes against Iran.
Before entering the Vanity Fair afterparty, he told USA Today: “We are going back to the same beginning of lying and manipulating us … it’s not about freedom. It’s not about changing any regime. It’s about creating a chaos that only benefits the richest and the people that have the power to control the area.”
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College Republicans Federation Disbands University of Florida Chapter Over Nazi Pictures
An entrance to the University of Florida in Gainesville, Dec. 4, 2020. Photo: USA Today Network via Reuters Connect
The Florida Federation of College Republicans (FFCR) has disbanded its chapter at the University of Florida and asked the school to deactivate it following an investigation which revealed that student leaders photographed themselves pantomiming the Nazi salute.
“This request is based on the FFCR’s findings that some Local CR [College Republicans] members engaged in a pattern of conduct that violated its rules and values, including a recent antisemitic gesture,” the university said in a statement on Saturday. “In compliance with its policies, the University of Florida is in the process of deactivating the Local CR as a registered student organization. When the FFCR is ready, the university will also assist it with reactivating the Local CR under new student leadership.”
Since reports of the action emerged, the UF College Republicans chapter has alleged that the Florida Federation lacks jurisdiction over the organization, insisting that it is registered with the College Republicans of America group. There are several contending “College Republican” groups, including the original College Republican National Committee founded in 1892, College Republicans United, the National Federation of College Republicans (NFCR), and College Republicans.
“They cited the FFFCR, an organization that we are not a part of that has no authority over our chapter [sic],” College Republicans of America said in a statement. “We look forward to the university reinstating our club and correcting this statement. We have retained counsel and have received information that this is not the first time that FFCR has lied to silence Christian conservative groups on campus.”
Regardless of the outcome of the dispute, the incident marks the second time this month that conservative youth were publicly outed for indulging Nazism and the white supremacist movement. Earlier this month, leaked texts revealed dozens of antisemitic and racist texts exchanged by young Republicans in Miami-Dade County, Florida, some of which fantasized about engaging in onanism in an all-white country.
As first reported by The Miami Herald, the group chat, created on WhatsApp, was described by its members as “Nazi heaven” for the daily barrage of extremist comments contributed to it. Individuals affiliated with the Miami-Dade Country Republicans, Turning Point USA, and College Republicans casually said “ni—er,” denounced women as “whores,” and spoke rapturously about Adolf Hitler.
Dariel Gonzalez, according to the Herald, was one of the chat’s most prolific contributors, bandying about comments regarding “color professors” and telling members that “You can f—k all the k—kes you want. Just don’t marry them and procreate.”
The group chat’s exposure comes at a time when, according to recent polling, young Republicans have increasingly embraced antisemitism and conspiracy theories.
As The Algemeiner has previously reported, antisemitism has permeated college campuses across the US for years, even before the recent surge in incidents amid the Israel-Hamas war in Gaza.
In 2022 alone, anti-Zionists at State University of New York (SUNY) New Paltz expelled a sexual assault survivor from a victim support group over her support for Zionism; a former University of California, Los Angeles (UCLA) lecturer threatened to commit a mass shooting of Jews on campus, saying in a note to former colleagues that “Violence against Jews should happen. Retaliation and retribution for what they have stolen is legitimate and a good thing”; and students at Indiana University posted messages on a social media forum which lambasted “east coast Jews” as rapists, charging that their “huge noses, afros, and smelliness prevent them from being attractive.”
The Palestinian terrorist group’s Oct. 7, 2023, massacre across southern Israel unleashed a historic surge in such outrages on US campuses. College students, joined by faculty, carried out a number of antisemitic incidents and hate crimes — spitting on Jewish students at the University of California, Berkeley while calling them “Jew”; gang assaulting Jewish students at Columbia University’s Butler Library; vandalizing public spaces with swastika graffiti; and chasing Jewish students out of graduate programs by denying them religious accommodations and smearing their reputations.
While much of the anti-Zionist movement on campus has been associated politically with the far left, the far right has recently been involved with a series of antisemitic incidents on campuses,
In October, for example, a conservative student magazine at Harvard University published an essay which bore likeness to key tenets of Nazi doctrine. In January, a sophomore and right-wing social media influencer at the University of Miami verbally attacked a Jewish student group, calling its members disgusting while accusing rabbis of eating infants.
Campus antisemitism has changed the college experience for American Jewish students, affecting how they live, socialize, and perceive themselves as Jews, according to new survey results released by the American Jewish Committee (AJC) in partnership with Hillel International.
A striking 42 percent of Jewish students reported experiencing antisemitism during their time on campus, and of that group, 55 percent said they felt that being Jewish at a campus event threatened their safety. The survey also found that 34 percent of Jewish students avoid being detected as Jews, hiding their Jewish identity due to fear of antisemitism. Meanwhile, 38 percent of Jewish students said they decline to utter pro-Israel viewpoints on campus, including in class, for fear of being targeted by anti-Zionists. The rate of self-censorship is significantly higher for Jewish students who have already been subjected to antisemitism, registering at 68 percent.
“No Jewish student should have to hide their identity out of fear of antisemitism, yet that’s the reality for too many students today,” Hillel International chief executive officer Adam Lehman said in February. “Our work on the ground every day is focused on changing that reality by creating environments where all Jewish students can find welcoming communities and can fully and proudly express their Jewish identities without fear or concern.”
Follow Dion J. Pierre @DionJPierre.
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Amsterdam’s New Warning to Europe on Antisemitism
Anti-Israel protesters clash with police outside Amsterdam’s Concertgebouw, breaking through barricades and setting off smoke bombs during a demonstration against a performance by the IDF’s chief cantor. Photo: Screenshot
Amsterdam likes to present itself as a city of tolerance. It celebrates diversity, prides itself on openness, and often reminds the world of its history as a refuge for those seeking freedom. Yet something deeply troubling happened in Amsterdam last week that should concern not only the Netherlands, but all of Europe:
A municipal debate about antisemitism had to be held at a secret location because of security concerns.
Pause for a moment and consider what that means. In a democratic European capital, a discussion about protecting a Jewish minority could not take place openly for fear of threats and intimidation. If that does not signal a serious problem, what does?
That’s in addition to the bombing of a Jewish school, and another attack that just occurred.
During the meeting, a 15-year old Jewish boy addressed the room. His testimony cut through political rhetoric and statistics with the clarity only a young voice can bring. Since the October 7, 2023, massacre in Israel, he said, life for Jewish students in Amsterdam has changed dramatically. Many of his friends have already left the city. They no longer see a future there.
Imagine hearing those words in 2026 in one of Europe’s most celebrated liberal cities. A teenager speaking calmly about the disappearance of his community.
Amsterdam alderman Melanie van der Horst was visibly moved and struggled to hold back tears. The emotional moment showed that some political leaders understand the gravity of what is happening. Yet empathy alone will not solve the problem.
Another participant in the debate raised a painful but necessary question: How must it feel for Jewish residents to walk daily through public spaces where demonstrations take place in which their country and their people are shouted down? Pro-Palestinian protests have become a constant presence in parts of the city. Political protest is a democratic right, but when rhetoric turns into open hostility toward Jews, society has crossed a dangerous line.
One proposal during the debate illustrated the level of frustration. A politician suggested sending undercover police officers into the streets wearing a kippah in order to identify those who harass Jews. Critics called the idea controversial. But the fact that such a measure is even being discussed reveals how serious the situation has become.
The problem extends beyond the streets. Jewish organizations in the Netherlands increasingly report difficulties renting venues for events. Cultural gatherings and lectures sometimes struggle to find halls willing to host them. It rarely makes headlines, but this quiet exclusion sends a clear message: you are welcome in theory, but not visibly.
History has taught Europe where that kind of atmosphere can lead. Antisemitism rarely begins with violence. It begins with discomfort, social pressure, and the slow normalization of hostility toward Jewish identity.
Meanwhile, another factor fuels the problem. Much of the European media landscape presents Israel through a lens that reduces a complex reality to a simple narrative of aggressor and victim. When context disappears and facts are replaced by slogans, public perception shifts. The hostility directed at Israel easily spills over into hostility toward Jews living thousands of kilometers away.
That is why factual education and responsible journalism matter so much. Civil society organizations that work to counter misinformation often struggle to be heard. Yet without a commitment to truth, public debate becomes an echo chamber for activism rather than a search for understanding.
There is also a question for Jewish communities themselves. When fear grows, the instinct to become less visible is understandable. But invisibility comes at a cost. If intimidation forces people to hide their identity, those spreading hatred learn that their tactics work.
The lesson of Jewish history is painfully clear. Silence has never protected Jewish communities.
Strength does not mean confrontation. It means refusing to surrender identity and dignity to intimidation. It means raising a generation that is proud rather than afraid. It means understanding that resilience is sometimes the only answer to those who seek to erase a people’s presence.
The young boy in Amsterdam asked a simple question without even intending to pose a challenge to Europe: will the Jewish community still exist here in the future?
That question should echo far beyond the walls of the municipal chamber where he spoke. Because if a Jewish teenager in Amsterdam already doubts his future in the city, then Europe is facing not just a Jewish problem.
It is facing a moral test of its own values.