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Soviet Jewry protest leaders in San Francisco secretly recruited help from Jews for Jesus, FBI file says
(JTA) – Organizers of protests on behalf of Soviet Jewry in San Francisco in the early 1970s might have bolstered crowds by secretly recruiting participants from Jews for Jesus.
The explosive revelation that Jewish leaders turned to a Christian missionary group for help appears in a 1973 FBI memo that the Jewish Telegraphic Agency recently obtained through a freedom of information request.
The FBI file details an apparent relationship between Martin Rosen, the founder of Jews for Jesus, and Joel Brooks and Harold Light, two prominent San Francisco Jewish leaders at the fore of local efforts in the movement to get Soviet authorities to end restrictions on the emigration of the country’s Jewish population. The relationship outlined in the declassified memo has not appeared in scholarship on the Soviet Jewry movement, nor is it known to activists of the movement who were interviewed by JTA. Light, Brooks and Rosen are deceased.
If the FBI’s intelligence is accurate, a successful and cherished social movement that unified much of the global Jewish community in common purpose for decades relied at least to some extent in San Francisco on the support of a group, rejected by nearly all of that community, whose mission is to proselytize to Jews.
“The first thing I thought of was, I’m reading something from ‘The Twilight Zone’ — in my many years in the Soviet Jewry movement, I don’t know if I’ve seen a document as strange as this,” said Morey Schapira, who served in leadership positions in the Student Struggle for Soviet Jewry, the Bay Area Council for Soviet Jews, and the Union of Councils for Soviet Jews. “The idea of working with a slimy group like Jews for Jesus, it’s beyond my comprehension.”
The public can request any FBI files that may exist pertaining to deceased individuals. An FBI memo relating Rosen arrived last November in response to one of about 50 freedom of information requests on prominent figures in recent Jewish history submitted by JTA almost two years ago. Most of JTA’s requests are still pending. TO DOWNLOAD THE FBI FILE, CLICK HERE.
Dated May 24, 1973, and written by an FBI informant whose name was redacted by staff at the U.S. National Archive, the memo focuses on Brooks, who was the Northern California director of the American Jewish Congress for about 30 years starting in 1967.
“[Brooks] has heavily utilized the services of the young Jews in the Jews for Jesus group,” the informant wrote. “[He] has used these services to turn out people in his Soviet Jewry demonstrations.”
The informant also cites Brooks as saying that Light, leader of the Bay Area Council for Soviet Jewry, used members of Jews for Jesus in a “hush-hush way” to distribute leaflets and participate in demonstrations.
The memo spells out why such an arrangement would be best kept out of the public eye.
“All of this, of course, is secret, because organized Jewish groups, and the various rabbinical councils have proclaimed that Jews for Jesus are no longer Jews but have become apostates, and should not be palled around with, nor buried in Jewish cemeteries,” the informant writes.
Martin “Moishe” Rosen, founder of Jews for Jesus in 1975. (Denver Post via Getty Images)
The upside for Rosen was obvious: His group would gain a foothold in a popular Jewish movement, offering a potential avenue toward legitimacy and a pool of possible recruits. In his 1974 memoir, titled “Jews for Jesus,” Rosen openly discussed being accepted into the movement by Jewish organizers, but he did so without naming Brooks, Light or any others.
He wrote that Jews for Jesus were invited because of their reputation as the “best qualified, best disciplined demonstrators in the San Francisco community. We’ve had more experience than other Jewish groups and are familiar with the applicable laws and regulations.”
Rosen’s group committed to not use the demonstrations as an opportunity to evangelize and didn’t bring any Christian literature or wear outfits that would identify them, according to the memoir.
“Many Jews for Jesus believe in the freedom of Soviet Jewry just as strongly as any other Jews, and we want to be as effective as possible when we demonstrate to support that cause,” Rosen wrote.
To Schapira, who led the Bay Area Council for Soviet Jews for years and knew both Brooks and Light, however, it’s unclear why the Soviet Jewry movement would have wanted or needed Jews for Jesus. Schapira didn’t recall it ever being especially difficult to turn out demonstrators organically. There didn’t seem to be a need to resort to secret deals.
“If you look at the picture of the rallies in those days, they even had people like [American folk music legend] Joan Baez,” Schapira said. “They developed a relationship with her and she would come to the rally and bring her guitar and sing songs for freedom.”
He added, “If we needed an instant rally, we were a grassroots organization and we could produce 10 or 12 people, which might be enough to send a message to the Russians and get some publicity in the local papers.”
At least a few people in the Bay Area’s Jewish community caught wind of the secret relationship between Brooks and Jews for Jesus at the time, according to the memo.
Stephanie Rodgers was a coordinator of the Jewish Defense League, an extremist right-wing Jewish group that was under heavy FBI surveillance. Founded by Rabbi Meir Kahane, the JDL applied its often violent tactics to resist Jews for Jesus’ public campaign to convert Jews. Rodgers visited Brooks’ office ahead of a planned demonstration in front of the Soviet consulate in San Francisco and asked about his connection to Rosen and Jews for Jesus, according to the memo.
After Brooks explained how they had been useful, Rodgers “smiled and was very pleasant on the surface,” the memo says. But at the demonstration, Rodgers and a group of other JDL activists showed up even though they said they would stay away, and they found Rosen in the crowd and proceeded to attack him and “kicked him in the groin.”
JDL regularly disrupted Jews for Jesus events; the organization would ultimately claim responsibility for firebombing a bus operated by Jews for Jesus in Brooklyn and abducting an adherent. In the Bay Area, where both groups were active, tensions were particularly high; the Jewish Defense League would sue the local Jews for Jesus chapter over what it charged was the group’s misuse of the JDL’s name and imagery.
Brooks, meanwhile, had more affable ties with Jews for Jesus. It’s unclear how or when Rosen and Brooks developed a relationship, but Brooks noted in a July 25, 1972, letter he wrote to the office of the American Jewish Congress in New York that their ties had started “some time ago.” The letter is found in the records of the Northern California branch of the American Jewish Congress, which are archived at the University of California Berkeley’s library.
A prominent advocacy group in its heyday, the American Jewish Congress — not to be confused with the American Jewish Committee — took a more liberal political stance than that of Jewish establishment groups on many issues.
Brooks had learned that his organization’s national headquarters wanted to undertake a study of Jews for Jesus and he wished to provide insight. He was under no illusion about the group’s objective: “The sole aim of these men is to enlist new converts to Christianity,” Brooks wrote in the letter.
“Through contact with Rosen I have developed a great deal of insight into how his organization operates, their source of funding, budget, etc. which I wish to share with you,” he added.
Then as now, members of Jews for Jesus and other Messianic groups felt unfairly rejected by the Jewish world, arguing that their Christian beliefs should have a place in the community.
In the early 1970s, when Jews for Jesus’ conversion drive was prominent and well funded, Brooks was perceived as more lenient, according to the foreword to the 2017 book “Converging Destinies: Jews, Christians, and the Mission of God.”
“Brooks tried to keep some of us connected to the Jewish community and Jewish life,” Calvin J. Smith wrote in the foreword. “I remember going with another Jew for Jesus to a Jewish consciousness raising session he held at a home in Marin County in the early 1970s.”
Glenn Richter was one of the founders of the Student Struggle for Soviet Jewry and operates as a walking encyclopedia of the movement.
Protestors dressed as prisoners behind bars, alongside a man holding a placard reading “Solidarity with Soviet Jews,” stand together with members of New York’s Jewish community as they take to the streets during the Solidarity Sunday for Soviet Jewry demonstration in protest at the Soviet Union’s treatment of Jewish people, in New York City, April 18, 1975. (Images Press/Keystone/Hulton Archive/Getty Images)
He said the movement did collaborate with many Christians outside of Jews for Jesus. For example, he said there were Scandinavians, who, on weekend trips to Leningrad (today St. Petersburg), brought in Jewish material that was banned in the Soviet Union. Others set up safe houses in Finland in expectation of fleeing Soviet Jews. And the International Fellowship of Christians and Jews raised millions of dollars from evangelicals to help transport Soviet Jews to Israel.
“Of course, among these goodhearted souls are those who have conversion of Jews in mind, but I suspect most have wanted to fulfill their prophecy of ingathering Jews to Israel so that a Christian messiah could return,” Richter said.
In his eyes, Jews for Jesus represented a red line.
“Our Student Struggle for Soviet Jewry office on Manhattan’s West 72nd Street was down the block from a church with a Jewish Messianic constituency, and we would never, ever, try to work with them,” Richter said.
Andrew Esensten contributed research to this story.
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At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption
(JTA) — BERLIN — They stood outside Berlin’s Babylon theater, bundled against the cold, laughing and dragging on cigarettes: the Cunio twins David and Eitan, and their younger brother Ariel.
David and Ariel were among the last Israeli hostages released in October from Hamas captivity, after 738 days. Their presence in Berlin — for a screening of a film about them, now recut with a redemptive ending — felt almost like an apparition. On the other side of two heavy glass doors were hundreds of theatergoers, people who had long waited for this moment.
The brothers and their extended family were in Berlin for a second premiere of Tom Shoval’s film “Letter to David.” The original film, shown in 2025 at the Berlin International Film Festival, or Berlinale, dove deep into the struggles of a family whose members had been abducted from Kibbutz Nir Oz on Oct. 7, 2023. By then, six kidnapped members of the family, including three children, had been freed. But David and Ariel remained in captivity.
“Last year I was standing before the screening with a poster of David and Ariel. I was determined, every time I showed the film, to say that it’s an unfinished film,” Shoval told the sold-out audience at the theater in former East Berlin.
“And now I’m standing here. I have David in the audience, and I have Ariel in the audience,” he continued. “This is a precious, precious moment.”
The film “is a testament to love, hope and all the people who did not give up during the two years I was in captivity,” David Cunio said in Hebrew, standing on the stage with his extended family. “You gave me a voice when I could not be present. You were there for me.”
The film’s second showing came as tensions over the war in Gaza and Germany’s support for Israel roiled the Berlinale. After the jury’s president, director Wim Wenders, brushed off a journalist’s exhortation for the festival to take a stand against Israel, the Indian author Arundhati Roy announced she would not attend, and some 80 filmmakers and stars signed an open letter of protest.
Festival director Tricia Tuttle issued a statement saying that “artists should not be expected to comment on all broader debates about a festival’s previous or current practices over which they have no control. Nor should they be expected to speak on every political issue raised to them unless they want to.”
Journalists and filmmakers continued to raise the issue, even on the festival’s final weekend, when some award winners — including the Syrian-Palestinian director Abdullah Al-Khatib, who won best debut film — swatted back at the festival jury, criticizing what they see as Germany’s general support for Israel. Al-Khatib’s allegation that Germany has been “partners in the genocide in Gaza by Israel” prompted a German minister to walk out of the awards ceremony on Sunday.
Friday’s screening of “Letter to David” was by contrast a love fest, and the two police cars out front and uniformed officers circulating inside appeared to have little to do. The audience gave the entire family a standing ovation before the screening.
“I think this is a piece of history,” audience member Nirit Bialer, an Israeli who has lived for years in Berlin, said in an interview. “Just seeing the family, and just following the story about this family on the media, going to the Hostages Square in Israel every time I was there in the last two years: Wow, I’m speechless.”
The film’s original ending showed twins David and Eitan Cunio as actors, grappling with each other in an embrace that is both tender and violent, in a scene from Shoval’s feature film, “Youth,” screened at the Berlinale in 2013.
That ending now segues into a new conclusion, in which the reunited Cunio family embraces. They also view the film together, and Shoval captures their faces as the projector beams from behind.
Shoval said in an interview that he had not changed anything in the first part of the film. “I wanted to leave it as a time capsule, in a way, of how we perceived it back a year ago,” he said.
Though he had been invited to be with the family at their reunion, he chose not to, explaining, “I thought it’s a moment that belongs to them and not to me.”
But he spoke with David soon after he was released. And shortly afterward, he visited Sharon and David Cunio at their home. “I came in the morning and we sat until sunset together and we talked. Even when I’m thinking about it now, I’m getting emotional, because it was really…” He paused. “You’re waiting for a moment for this for so long.”
The Friday screening was not an official part of the Berlinale, but the beleaguered festival director Tuttle made a point of taking the stage herself. The film has been “finished in the way that Tom only hoped and dreamed and believed that he would be able to finish it,” she told the audience.
“We were horrified along with the world and all of you when David Cunio and many members of his family were abducted by Hamas,” she said. And on their release “we rejoiced with everyone as well.”
Saying that the new version was completed too late to be included in the festival schedule, Tuttle thanked two co-production companies that work closely with Israeli artists for backing Friday’s screening: the Israel-based Green Productions and the Berlin-based Future Narrative Fund.
Audience members seemed loath to leave the theater after the screening, lingering over what some described as mix of happiness and worry.
“The fact that David is able to see the movie makes us see the movie in a different way,” commented Konstantin, who had seen the original version last year. A young Jewish actor who lives in Berlin, he asked that his full name not be used, out of concerns about antisemitism. “With the ending, it’s like a full circle, completed.”
Seeing the film again with the Cunio family present “was very uplifting and very happy,” said Berliner Julia Kopp, who also saw the film last year. “But at the same time, it’s not a happy ending … I also have a bit of a heavy heart,” worrying about “how life will go on for them.”
Both brothers have indicated that reentry into everyday life has been challenging after two years of captivity for them and two years of traumatized advocacy by their loved ones. And Ariel Cunio and his partner Arbel Yehud, who was held in captivity until January, have raised nearly $1.8 million since launching a crowdfunding campaign last week aimed at allowing them the time and space to “come back to life.”
A crowdfunding campaign launched on behalf of David and Sharon Cunio their twin daughters, also former hostages, says, “The family not only has to deal with the trauma that follows being held hostage and the events that transpired on October 7th, but also needs to rebuild their entire lives from scratch.”
Shoval said the film — and the screening — offered a vision for what a more settled future might look like.
“For me, the film is about the unification of the brotherhood, and what that means to be torn apart from each other, but also to get back,” Shoval said. “They can sit in the theater and they can see themselves. They can see what they missed, what happened. They can project about the past, about the present. This is a power of cinema, I feel. It felt natural for me to do that: to bring them back.”
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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