Uncategorized
How the late actor Topol turned Tevye into a Zionist
(JTA) — If you were born anytime before, say, 1975, you might remember Israel not as a source of angst and tension among American Jews but as a cause for celebration. In the 1960s and ’70s, most Jews embraced as gospel the heroic version of Israel’s founding depicted in Leon Uris’ 1958 novel “Exodus” and the 1960 movie version. The1961 Broadway musical “Milk and Honey,” about American tourists set loose in Israel, ran for over 500 performances. And that was before Israel’s lightning victory in the Six-Day War turned even fence-sitting suburban Jews into passionate Zionists.
That was the mood when the film version of “Fiddler on the Roof” came out in 1971. The musical had already been a smash hit on Broadway, riding a wave of nostalgia by Jewish audiences and an embrace of ethnic particularism by the mainstream. The part of Tevye, the put-upon patriarch of a Jewish family in a “small village in Russia,” was originated on Broadway by Zero Mostel, a Brooklyn-born actor who grew up in a Yiddish-speaking home. Ashkenazi American Jews tended to think of “Fiddler” as family history — what Alisa Solomon, author of the 2013 book “Wonder of Wonders: A Cultural History of Fiddler on the Roof,” describes as the “Jewish American origin story.”
But Mostel didn’t star in the film, which landed in theaters while the afterglow of Israel’s victory in its second major war of survival had yet to fade. Famously – or notoriously – the part went to Chaim Topol, a young Israeli actor unknown outside of Israel except for his turns in the London productions of “Fiddler.” With an Israeli in the lead, a musical about the perils and dilemmas of Diaspora became a film about Zionism. When Topol played Tevye in London, Solomon writes,“‘Fiddler’ became a site for celebration, drawing Jews as well as gentiles to the theater — some for repeat viewings — to bask in Jewish perseverance and to pay homage to Jewish survival. The show didn’t change, but the atmosphere around it did.”
Topol died this week at 87, still best known as Tevye, and his death reminded me of the ways “Fiddler” is — and isn’t — Zionist. When Tevye and his fellow villagers are forced out of Anatevke by the czarist police, they head for New York, Chicago and Krakow. Only Yente, the matchmaker, declares that she is going to the “Holy Land.” Perchik, the presumably socialist revolutionary who marries one of Tevye’s daughters, wants to transform Russian society and doesn’t say a word about the political Zionists who sought to create a workers’ utopia in Palestine.
“There is nothing explicitly or even to my mind implicitly Zionist about it,” Solomon told me a few years back. And yet, she said, “any story of Jewish persecution becomes from a Zionist perspective a Zionist story.”
When the Israeli Mission to the United Nations hosted a performance of the Broadway revival of “Fiddler” in 2016, that was certainly the perspective of then-Ambassador Dani Danon. Watching the musical, he said, he couldn’t help thinking, “What if they had a place to go [and the Jews of Anatevke could] live as a free people in their own land? The whole play could have been quite different.”
Israelis always had a complicated relationship with “Fiddler,” Solomon told me. The first Hebrew production was brought to Israel in 1965 by impresario Giora Godik. American Jews were enthralled by its resurrection of Yiddishkeit, the Ashkenazi folk culture that their parents and grandparents had left behind and the Holocaust had all but erased. Israelis were less inclined to celebrate the “Old Country.”
“Israelis were — what? — not exactly ashamed or hostile, but the Zionist enterprise was about moving away from that to become ‘muscle Jews,’ and even denouncing the stereotype of the pasty, weakling Eastern European Jews,” said Solomon, warning that she was generalizing.
That notion of the “muscle Jew” is echoed in a review of Topol’s performance by New Yorker critic Pauline Kael, who wrote that he is “a rough presence, masculine, with burly, raw strength, but also sensual and warm. He’s a poor man but he’s not a little man, he’s a big man brought low — a man of Old Testament size brought down by the circumstances of oppression.”
From left: Maria Karnilova, Tanya Everett, Zero Mostel, Julia Migenes and Joanna Merlin backstage at opening night of “Fiddler on the Roof” at the Imperial Theater in New York City, Sept. 22, 1964. (AP/Courtesy of Roadside Attractions and Samuel Goldwyn Films)
Mostel, by contrast, was plump, sweaty and vaudevillian — a very different kind of masculinity. The congrast between the two Tevyes shows up in, of all places, a parody of “Fiddler” in Mad magazine. In that 1976 comic, Mostel’s Tevye is reimagined as a neurotic, nouveau riche suburban American Jew with a comb-over, spoiled hippy children and a “spendthrift” wife; Topol’s Tevye arrives in a dream to blame his descendants for turning their backs on tradition and turning America into a shallow, consumerist wasteland. A kibbutznik couldn’t have said (or sung) it better.
Composer Jerry Bock, lyricist Sheldon Harnick and book writer Joseph Stein set out to write a hit musical, not a political statement. But others have always shaped “Fiddler” to their needs.
In the original script, Yente tells Tevye’s wife Golde, “I’m going to the Holy Land to help our people increase and multiply. It’s my mission.” In a 2004 Broadway revival, staged in the middle of the second intifada, the “increase and multiply” line was excised. In a review of Solomon’s “Wonder of Wonders,” Edward Shapiro conjectured that the producers of the revival didn’t want Yente to be seen as “a soldier in the demographic war between Jews and Arabs.”
Topol himself connected “Fiddler” to Israel as part of one long thread that led from Masada — the Judean fortress where rebellious Jewish forces fell to the Romans in the first century CE — through Russia and eventually to Tel Aviv. “My grandfather was a sort of Tevye, and my father was a son of Tevye,” Topol told The New York Times in 1971. “My grandfather was a Russian Jew and my father was born in Russia, south of Kiev. So I knew of the big disappointment with the [Russian] Revolution, and the Dreyfus trial in France, and the man with the little mustache on his upper lip, the creation of the state of Israel and ‘Masada will never fall again.’ It’s the grandchildren now who say that. It’s all one line — it comes from Masada 2,000 years ago, and this Tevye of mine already carries in him the chromosomes of those grandchildren.”
The recent all-Yiddish version of “Fiddler on the Roof” — a Yiddish translation of an English-language musical based on English translations of Yiddish short stories — readjusted that valence, returning “Fiddler” solidly to the Old Country. It arrived at a time when surveys suggested that Jews 50 and older are much more emotionally attached to Israel than are younger Jews. For decades, “Exodus”-style devotion to Israel and its close corollary — Holocaust remembrance — were the essence of American Jewish identity. Among younger generations with no first-hand memories of its founding or victory in the 1967 war, that automatic connection faded.
Meanwhile, as Israeli politics have shifted well to the right, engaged liberal Jews have rediscovered the allure of pre-Holocaust, pre-1948, decidedly leftist Eastern European Jewish culture. A left-wing magazine like Jewish Currents looks to the socialist politics and anti-Zionism of the Jewish Labor Bund; symposiums on Yiddish-speaking anarchists and Yiddish-language classes draw surprisingly young audiences. A Yiddish “Fiddler” fits this nostalgia for the shtetl (as does the “Fiddler” homage in the brand-new “History of the World, Part II,” which celebrates the real-life radical Fanny Kaplan, a Ukrainian Jew who tried to assassinate Lenin).
Topol’s Tevye was an Israeli Tevye: young, manly, with a Hebrew accent. Mostel’s Tevye was an American Tevye: heimish, New York-y, steeped in Yiddishkeit. It’s a testament to the show’s enduring appeal — and the multitudes contained within Jewish identity — that both performances are beloved.
—
The post How the late actor Topol turned Tevye into a Zionist appeared first on Jewish Telegraphic Agency.
Uncategorized
Australian Police Arrest Teens for Antisemitic Harassment of Jewish Schoolboys
Illustrative: Government workers cleaning antisemitic graffiti in Sydney, Australia in February 2025. Photo: AAPIMAGE via Reuters Connect
Australian police have arrested two teenagers suspected of chasing Jewish schoolboys in a stolen car while shouting Nazi slogans in Melbourne last week.
The suspects, one of whom already has a criminal history at age 16, were taking a joyride in the vehicle in the St. Kilda East section of the city when they spotted the Jewish boys walking home, according to Australian media. After initially passing by them, the driver reportedly executed a U-turn and gave chase, nearly striking one of the fleeing boys as he tried to escape what appeared to be an imminent threat to his life.
“Parents said the boys were badly shaken and reluctant to return to school, struggling to understand why they had been targeted,” the outlet J-Wire reported. “One father said the use of Nazi gestures was particularly distressing for families in a community where many are descendants of Holocaust survivors.”
Police confirmed on Friday night that they arrested the 16-year-old boy, who has been charged with aggravated burglary, theft of a motor vehicle, and numerous driving offences.
The announcement from law enforcement came after a 15-year-old was arrested for the incident and charged with theft of a motor vehicle.
The younger boy has been bailed ahead of his court appearance next month, Australian media reported. However, the 16-year-old has been remanded in custody and is set to appear in court on Tuesday.
Australian lawmakers have sought to confront antisemitism in recent weeks with new legislation, following a historic surge in antisemitic incidents across the country.
The wave of antisemitism culminated last month at Sydney’s Bondi Beach, where gunmen, allegedly inspired by the Islamic State terrorist group, opened fire on a Jewish gathering celebrating the start of Hanukkah, killing 15 people and wounding dozens of others.
On Tuesday, the Australian Federal Parliament passed the Combatting Antisemitism, Hate, and Extremism Act, increasing penalties imposed on hate crime perpetrators and creating new ones against “preachers and leaders” who promote hatred. Other provisions of the law, passed as separate acts, impose new gun restrictions and strengthen and aim to strengthen the immigrations system’s threat detection capabilities.
These measures passed as Prime Minister Anthony Albanese apologized for his government not doing enough to combat antisemitism.
A year before the incident, the Executive Council on Australian Jewry (EJAC) reported a 316 percent increase in antisemitic incidents between 2023 and 2024, a figure which included a surge in physical assaults and “graffiti calling to kill Jews as a direct imperative.”
“In the past such deal calls were in the form of the ‘Death to the Jews’ — expressing a sentiment rather than an act,” the group said in its 2025 report. “The same theme has also occurred in hate emails, phone calls, and other messages — calling for the mass death of Jews. The expression of such sentiments has become much more common, adding to the sense of social license for acts of severe physical violence against Australian Jews.”
In other incidents, someone graffitied the home of Lesli Berger, former president of the New South Wales Jewish Board of Deputies; a Jewish man was assaulted by an anti-Israel mob because he took down an advertisement of a pro-Palestinian rally; and, in one notorious episode in the immediate aftermath of the Oct. 7 attack, hundreds of pro-Hamas protesters gathered outside the Sydney Opera House chanting “gas the Jews,” “f—k the Jews,” and other epithets.
Anti-Israel sentiment in Australia has also led to vandalism. In June 2024, the US consulate in Sydney was vandalized and defaced by a man carrying a sledgehammer who smashed the windows and graffitied inverted red triangles on the building. The inverted red triangle has become a common symbol at pro-Hamas rallies. The Palestinian terrorist group, which has ruled Gaza for nearly two decades, has used inverted red triangles in its propaganda videos to indicate Israeli targets about to be attacked. According to the Anti-Defamation League (ADL), “the red triangle is now used to represent Hamas itself and glorify its use of violence.”
“We are now at a stage where anti-Jewish racism has left the fringes of society, where it is normalized and allowed to fester and spread, gaining ground at universities, in arts and culture spaces, in the health sector, in the workplace and elsewhere,” EJAC president Daniel Aghion said in a statement on the day the group released its 2025 report. “In such an environment, Jews have legitimate concerns for their physical safety and social well-being in Australia. Together, we must do all we can to combat this scourge.”
Follow Dion J. Pierre @DionJPierre.
Uncategorized
What an antisemitic conspiracy theory and the Alex Pretti killing have in common
The night after Border Patrol agents shot and killed Alex Pretti in Minneapolis, as federal officials continued to spread lies about what happened, a friend asked me for advice on another disturbing instance of misinformation. What she should say, she asked, to a colleague who is posting antisemitic conspiracy theories about last month’s wildfires in Argentina.
That conundrum was related to the horror of our government trying to blame an innocent man for his own murder, I told her. And democracy, our very society, depends on figuring what to do about both.
In both cases, there’s a stubborn refusal to admit reality. Blinded by hate, suspicion or party loyalty, and locked in hermetically sealed media silos, people blame phantoms — in the case of Argentina — or the actual victims — as in Minneapolis — for the ills of our world.
And with each rejection, each accusation, society bends a bit more toward breaking.
In Argentina, after fires ravaged some 3,000 acres earlier this month, retired military general César Milani and others blamed the blazes on Israel.
My friend’s colleague was one of the many thousands of social media posters who spread those accusations, convinced that Israelis in Patagonia deliberately started the fires in order to clear the way for Zionist settlement.
Nothing my friend could say — that authorities had not determined the cause, that the Argentine government itself said the “Zionist fire” accusations were baseless — could convince her colleague otherwise.
“She would just tell me, ‘That’s what they want you to believe,’” my friend said. “What could I say to that?”
I wish I knew. Because all weekend I despaired seeing the same dynamic at work in the United States, in even more tragic circumstances.
Video footage, eyewitnesses and expert analysis show that Border Police shot Pretti multiple times, after they threw him to the ground and removed a holstered firearm he was legally carrying. Videos show that Pretti, who had been using his iPhone to film Border Police and ICE agents, had run to help a woman whom the federal agents had shoved down.
Anyone who takes the time to look and listen to the evidence can agree on what happened. Or so you would think.
Yet many federal officials, including President Donald Trump and Secretary of Homeland Security Kristi Noem, suggested that the real victims were the agents who killed Pretti.
Stephen Miller, Trump’s senior aide, called Pretti “a domestic terrorist.” Gregory Bovino, the official in charge of Border Patrol operations, said Pretti sought to “massacre law enforcement.” (Federal officials used very similar language to describe Renée Good, an unarmed mother whom ICE agents shot and killed earlier this month, after her death.)
Pretti “allegedly tried to pull out a firearm,” reported the resolutely pro-Trump OneAmerica News — ignoring the fact, clear in videos of the incident, that it was agents who removed his firearm from his holster, and agents who shot him after.
As with the Argentine fires, these were the accusations that ricocheted across social media, where posters accused Pretti — with zero evidence — of being an agitator paid for by Jewish Hungarian-born billionaire George Soros.
“Pretti was unalived” — online slang for “killed” — “by federal law enforcement officers who were defending themselves from being murdered by a deranged, Soros-paid terrorist,” was one of the typical, depressing posts to pop up in my feed this weekend.
At least in Argentina the government issued a statement debunking the Zionist arson claim, after an investigation found it was baseless.
In the U.S., a full, fair inquiry into Pretti’s death may shed more light on why the killing occurred. But despite some Republican lawmaker’s calls for a joint federal and state investigation, the federal government is so far doing what it did after the Good’s killing: shutting state authorities out and focusing on the actions of the victims, not the shooter. Three days ago an FBI agent assigned to investigate Good’s death resigned after the Department of Justice pressured her to drop her investigation into the agent behind the shooting.
And so a senseless death that could provide a moment of national reckoning, even reconciliation, will be mourned by many Americans in justifiable outrage. But for others, nothing will penetrate their conviction that Alex Pretti was guilty of provoking his own murder.
The historical record provides little hope that people so locked into a point of view shaped by misinformation can ever change their minds.
I always assumed that the public understanding of the Kent State University shootings, on May 4, 1970, was a matter of settled history: Ohio National Guard troops opened fire on peaceful protesting college students, killing four, and we all knew it was an unjustifiable massacre.
But revisiting that history in the wake of Pretti’s death, I discovered that was far from the truth.
“There was still that sentiment out there that they should have shot more students,” Dean Kahler, a former Kent State protester permanently paralyzed after a National Guardsman’s bullet severed his lower spine, told NPR in 2020, “that they should’ve killed more people.”
And long before Kent State, there was Captain Alfred Dreyfus, the French Jewish officer accused of treason in 1894 and later fully exonerated, in a case that divided France to the brink of civil war.
Ever since, a succession of right-wing elements in France have stuck to their belief in Dreyfus’ guilt. In 2021, the French lawyer Germain Latour said French antisemites suffered from an “epidemic of mental cholera” that prevented them from accepting the truth.
I wish I hadn’t had to tell my friend that it’s hard, if not impossible, to crack open every closed mind. But I did. My friend’s colleague will likely never stop believing Israel burned Argentina. Pretti’s killers will continue to have millions of defenders who will never see what to most of us is obvious.
Both stories follow the same script: reality conflicts with ideology, so reality gets discarded.
What matters more is that the people who care about finding and defending the facts push their institutions — courts, media, academia, clergy — to do the same. It is, to borrow a recent movie title, one battle after another. But for Alex Pretti’s sake, we cannot quit.
The post What an antisemitic conspiracy theory and the Alex Pretti killing have in common appeared first on The Forward.
Uncategorized
Guinness World Records Starts Accepting Israeli Submissions Again Following Legal Pressure
People stand next to flags on the day the bodies of deceased Israeli hostages, Oded Lifschitz, Shiri Bibas, and her two children Kfir and Ariel Bibas, who were kidnapped during the deadly Oct. 7, 2023, attack by Hamas, are handed over under the terms of a ceasefire between Hamas and Israel, in Tel Aviv, Israel, Feb. 20, 2025. Photo: REUTERS/Ammar Awad
Guinness World Records (GWR) is once again accepting submissions from Israel and the Palestinian territories, following pressure from an association of British lawyers that claimed the policy was discriminatory and threatened the validity of Guiness’s registered trademarks.
GWR confirmed to UK Lawyers for Israel (UKLFI) via email that it ended its temporary pause on submissions from Israel and the Palestinian territories that was implemented in November 2023, shortly after the start of the war in the Gaza Strip following the Hamas-led Oct. 7 terrorist attack across southern Israel.
The exclusionary policy drew widespread condemnation in early December after Guinness World Records refused to accept a submission from the Israeli NGO Matnat Chaim, which was hoping to set a world record with an event in Jerusalem where 2,000 Israeli kidney donors will gather in one place.
GWR told Matnat Chaim at the time it was “not generally processing” record applications from Israel or the Palestinian territories “with the exception of those done in cooperation with a UN humanitarian aid relief agency.” Guinness denied claims that its policy against submissions from Israel or the Palestinian territories unlawfully excluded and discriminated against Israelis and Palestinians because the policy was based on location, not nationality or ethnicity.
In late December, UKLFI wrote to Guinness and warned that the company could face legal risks because of the policy and that it amounted to indirect discrimination. UKLFI noted that marketing publications under the title “Guinness World Records” while excluding records from in Israel or the Palestinian territories could be considered unfair commercial practice under consumer protection law. The policy could also risk the validity of Guinness’s registered trademarks, according to UKLFI.
Starting Jan. 15, GWR resumed its “routine acceptance” of applications, it told UKLFI in an email shared with The Algemeiner.
“We have continued to monitor the situation in the region carefully, reviewing the policy monthly,” GWR wrote. “The recent ceasefire and the return to a more stable environment have been key factors in these reviews. With these factors in mind … we recommenced our routine acceptance of applications for world records from Israel and the Palestinian Territories, including the application made by the Matnam Chaim charity.”
The company added that the decision to resume processing applications from the region was not an admission that its temporary pause had been unlawful or that its trademarks had been used improperly. Guinness also shared that several records set in Israel had in fact been recognized during the temporary pause. They included records for the fastest robot to solve a rotating puzzle clock, most backward somersault burpees in 30 seconds done by a male, oldest female person to perform a headstand, most sequences completed in a game of “Simon,” and tallest drag performer.
“Guinness World Records’ decision to resume accepting submissions from Israel and the Palestinian territories is welcome,” said UKLFI chief executive Jonathan Turner. “Excluding particular countries carries serious legal and commercial risks. Global organizations cannot present themselves as neutral and inclusive while applying exceptional policies to certain countries, particularly where this misleads consumers and disadvantages entire populations.”
Israeli Foreign Minister Gideon Sa’ar also commented on GWR’s change in policy, celebrating that the massive gathering of kidney donors in Jerusalem will be recognized.
“Two thousand Israeli kidney donors are making the largest donation ever, in a selfless act of solidarity and humanity,” Sa’ar posted on the social media platform X on Monday. “Good to see it finally receive the celebration it deserves by the Guinness World Records, which revoked their original distorted decision to deny Israeli kidney donors their rightful recognition.”