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Was the ‘Yiddish Sherlock Holmes’ the first Jewish superhero?
In 1908, around 30 years before Batman was first billed as the World’s Greatest Detective, and 15 after Sherlock Holmes solved his final case, another sleuth made his bombastic debut, rescuing a rabbi’s kidnapped granddaughter.
This hero distinguished himself in a major way. As the back blurb of his adventures insisted, “Max Spitzkopf IS A JEW — and he has always taken every opportunity to stand up FOR JEWS.”
The adventures of Spitzkopf, the nattily-dressed, pistol-brandishing Viennese gentleman, renowned throughout Austria-Hungary for his gumshoeing, were published in 32-page pulp pamphlets across the Yiddish-reading world. In his memoir, Isaac Bashevis Singer, vividly recalled devouring these stories as a child, and he was far from alone. Yet for all their popularity, copies of the original volumes, like Batman’s first appearance in Detective Comics #27, are exceedingly rare.
In 2017, Mikhl Yashinsky was a fellow at the Yiddish Book Center in Amherst, Massachusetts, when it received the first five stories in a bound volume from a donor. They were in rough shape, their cheap paper crumbling. Yashinksy set out to translate them.
“He was really a kind of Jewish superhero,” said Yashinsky, whose full translation of the 15 Spitzkopf stories, written by Jonas Kreppel, is out now. (He received the other 10 from the Yale Judaica Library, one of the only institutions in the world to have the complete collection.)
The cases Spitzkopf and his capable Watsonian assistant, Fuchs, take on reflect the early 20th Century conditions of Jews in Galicia.
Spitzkopf uncovers a blood libel plot — and thwarts a Passover pogrom. He frees a young Jewish woman from sexual slavery in Constantinople. While Arthur Conan Doyle’s stories, which were translated to Yiddish, certainly had a literary edge on these mysteries, Spitzkopf was an avenger for his people. And whereas these Jewish cause célèbres rarely had a happy outcome, Kreppel, the author, always served up poetic justice. The writer was so sensitive to his readers, no doubt affected by the prejudice and violence he ripped from the headlines, he didn’t leave them in suspense, revealing the villains’ machinations early on.
While Spitzkopf is described in the translation’s subtitle as the Yiddish Sherlock Holmes, Yashinksy said the stories themselves are scanty when it comes to the character’s Yiddishkeit. The text itself calls him the “Viennese Sherlock,” and he appears to be a well-assimilated Austrian citizen, written in a distinctly German-inflected Yiddish. He is just the kind of person his creator aspired to be.
Kreppel, born into a Hasidic family in Drohobycz, Galicia, was a prolific writer on many subjects in four languages (Yiddish, German, Hebrew and Polish). He edited Jüdische Korrespondenz, a newspaper of German-Jewish concerns, wrote a still-used reference text on German Jewry, Juden und Judentum von heute (Jews and Judaism of Today) and countless political tracts. (He also published one-off, sensationalist adventure stories with titles like My Son-in-Law the Murderer.)
Initially poised for a rabbinical career, Kreppel settled in Vienna and eventually served the Austrian government as a press officer and advisor to the foreign consulate. Ever the patriot, and a defender of his fellow Jews, he was an early critic and victim of Nazism. The Nazis sent him to Dachau in 1938 and murdered him in Buchenwald on July 21, 1940.
Yashinsky translates the Spitzkopf stories with a flair reminiscent of gangster flicks. He also cites inspiration from his maternal grandparents, voice actors Elizabeth and Rubin Weiss, who performed a variety of roles on radio serials like The Lone Ranger and Challenge of the Yukon.
“They played those villains and damsels in distress,” said Yashinsky, himself an actor, who recorded a brief selection of the Spitzkopf stories for the current exhibition at the Yiddish Book Center.
The crooks Spitzkopf tracks down speak of “cheesing it” when they wish to make themselves scarce. Antisemitic Poles speak in heavy dialects of the loathed Żydzi they plan to blame for the death of a child before Passover.
The Yiddish literati of the early 20th Century looked askance at Kreppel’s stories, deriding them as “shund,” originally a term for waste left after butchering animals. Yashinksy read that Yoel Teitelbaum, founder of the Satmar Hasidim, was scandalized that his words were “distributed far and wide as though they were Holy Writ.” Yashinsky believes they have value.
“To me, it’s important to take seriously the popular culture of the day,” Yashinsky said. “They’re stories of heroism and of sticking up for the persecuted and defending them. So I think that’s relevant in any time, and especially in ours.”
Perhaps it’s wish fulfillment, like the claims on every booklet that Max Spitzkopf was a man who “LIVES AND BREATHES.”
He didn’t do either, but those who read of his exploits likely felt better believing the lie.
The post Was the ‘Yiddish Sherlock Holmes’ the first Jewish superhero? appeared first on The Forward.
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Israel’s Pager Attack Against Hezbollah Inspires New Spy Thriller With ‘Fauda’ Actors
An ambulance arrives at a hospital as thousands of people, mainly Hezbollah fighters, were wounded on Sept. 17, 2024 when the pagers they use to communicate exploded across Lebanon. Photo: REUTERS/Mohamed Azakir
Israel’s operation last year that involved the explosion of pagers carried by Hezbollah terrorists in Lebanon has inspired a new film by Bleiberg Entertainment, which will launch sales for the project at the American Film Market (AFM) next month, Deadline reported.
The spy thriller “Frequency of Fear” will star “Fauda” cast members Doron Ben-David, Itzik Cohen and Marina Maximilian, as well as Israeli singer and actress Daniella Pick Tarantino (“The Perfect Gamble”), who is married to filmmaker Quentin Tarantino. The film is currently in post-production.
Israeli-American actor, director, and producer Danny Abeckaser is directing and producing with a script by Kosta Kondilopoulos. The two worked together previously on films including “Inside Man” and “The Engineer.”
The “Frequency of Fear” cast includes Ariel Yagen (“Martin Scorsese Presents: The Saints”), actress and social media activist Emily Austin, Angel Bonanni (“Seven Days in Entebbe”), Herzel Tobey (“Damascus Cover”), Moran Attias (“Tyrant”), Aki Avni from Netflix’s “Beauty Queen of Jerusalem,” and Yarden Toussia Cohen from the Apple TV+ series “Tehran,” according to Deadline.
The AFM, held this year from Nov. 11-16 at the Fairmont Century Plaza in Los Angeles, is an annual event where members of the international film and television industry can meet and collaborate.
The covert Israeli operation took place in September 2024 and targeted members of the Iranian-backed Islamist terror group Hezbollah, which is based in Lebanon. The blasts took place over the course of two days, wounding thousands and killing more than 40 people. Iranian Ambassador to Lebanon Mojtaba Amani was among those injured and reportedly lost an eye. The explosions took place across Hezbollah’s main stronghold in Beirut and in southern Lebanon. It was carried out following months of almost daily Hezbollah rocket attacks on northern Israel and almost a year after the Hamas-led deadly terrorist attack in southern Israel on Oct. 7, 2023
Israel’s intelligence agency Mossad sabotaged thousands of explosive-laden communication devices, such as pagers and hand-held radios, before they were distributed to Hezbollah operatives. Israeli Prime Minister Benjamin Netanyahu confirmed Israel’s involvement in November 2024, telling his cabinet he had approved the operation.
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Documentary Festival in Amsterdam Bans Gov’t-Funded Israeli Film Institutions in Support of Israel Boycott
Illustrative: Anti-Israel demonstration supporting the BDS movement, Paris France, June 8, 2024. Photo: Claire Serie / Hans Lucas via Reuters Connect
One of the world’s largest documentary festivals has prohibited Israeli film institutions receiving government funding from participating in its event this year, in support of a Dutch and Belgian cultural boycott of Israel.
Every year, the International Documentary Film Festival Amsterdam (IDFA) invites more than 300 independent films, 45 projects, and more than 3,000 professionals to the festival.
“These films and individual film professionals can come from any country, even if freedom of expression is under pressure in those countries or if human rights violations are committed in the name of governments,” an IDFA spokesperson explained to The Algemeiner on Tuesday. “Filmmakers and films with demonstrable ties to governments that contribute to serious human rights violations (for example, if a film or project has been financed by such government) will not be selected. Official government delegations or affiliated institutions from these countries are not eligible for official accreditation to IDFA.”
The festival will be held this year from Nov. 13-23.
The IDFA similarly explained its policy for next month’s event on its website under its “principles and guidelines.” The festival stated that it “does not claim to settle or resolve political debates, but rather to enrich them from an artistic perspective, thereby stimulating public debate and fostering understanding and individual growth.” Organizers also noted that the festival “cannot and does not want” to have a neutral position but instead hopes to be “a committed institution with a socially critical perspective.”
Despite participating in a boycott against Israel, IDFA further claimed that it aims to serve as a “safe space” for independent filmmakers, artists, and audiences, “where everyone feels welcome and respected and can express themselves freely even when perspectives differ.”
“At IDFA there is a plurality of voices, that established names and opinions can be critically questioned, that protests can be heard, and friction can exist to discuss social issues and contribute to change,” according to the festival’s website. “We must protect this open space, especially when things get complicated.”
IDFA organizers declined accreditation to Israel’s DocAviv Festival, the Israeli public broadcaster Kan, and the Israeli Co-Production Market because they receive partial funding from the Israeli state budget, according to Variety. Filmmaker and producer Michal Weits, who became Docaviv’s artistic director last year, released a statement criticizing global cultural boycotts of Israel. He called on colleagues in the international documentary filmmaking community not to “conflate the Israeli government with the state and its people.”
“This is the moment to strengthen liberal institutions and voices of dissent within Israel, and to ensure that they do not disappear,” he said. “The budgets allocated to cinema in Israel do not belong to the government; they belong to the public. They belong to the citizens, to the taxpayers. These resources enable us to amplify critical voices, to shed light on injustices, and to provide the broad platform we dedicate to filmmakers from across the world, offering audiences the opportunity to encounter urgent and meaningful cinema.”
The IDFA is among hundreds of Dutch and Belgian cultural organizations, artists, and cultural workers that recently signed a pledge to boycott Israel and Israeli entities that are complicit in alleged “grave human rights violations against the Palestinian people.” The signatories support boycotts of Israel in every field, including sports and music, like the Eurovision Song Contest.
“A cultural boycott alone cannot end the genocide, apartheid, or illegal occupation,” they said. “We thus echo longstanding Palestinian calls on the sports sector, academia, the economic sectors, and all spheres of politics to sever ties with complicit institutions.”
The group added that it is composed of “members of the Dutch and Belgian cultural sector, [who] wish to no longer remain bystanders to the ongoing war crimes, crimes against humanity, and what has been widely recognized by all authoritative institutions as a genocide of the Palestinian people.” Individual independent filmmakers and film professionals are not affected by the boycott.
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Harvard conservative magazine is shut down after publishing article laced with Nazi rhetoric
A conservative magazine at Harvard University was suspended by its board of directors Sunday amid scrutiny over an article published in September that closely resembled the rhetoric of Adolf Hitler.
In its September print issue, the Harvard Salient published an article by student David F.X. Army that read “Germany belongs to the Germans, France to the French, Britain to the British, America to the Americans,” echoing the words Hitler used in a January 1939 speech to the Reichstag in which he forecasted that another world war would lead to the annihilation of Jews.
The Harvard Salient piece also argued that “Islam et al. has absolutely no place in Western Europe,” and called for a return to values “rooted in blood, soil, language, and love of one’s own.” (The phrase “blood and soil” also echoes a Nazi idea that the inherent features of a people are its land and race.)
In a statement to the school’s newspaper, the Salient’s editor-in-chief, Richard Y. Rodgers, claimed that Army “did not intentionally quote Adolf Hitler, nor did any member of our editorial staff recognize the resemblance prior to publication.”
Rodgers continued, “The article was a meditation on how nations and cultures preserve coherence in an age of rootless cosmopolitanism and global homogenization. To confuse a defense of belonging for a manifesto on exclusion is a fault of the reader, not the writer.”
The print edition of the article was placed in undergraduate dormitories last month. Harvard installed Salient distribution boxes in dorms in February after the publication, which is independent from the university, complained that students could not easily access its work.
The uproar comes as politicians and other public figures on the right have faced allegations that their rhetoric echoes that of the Nazis. It also comes as Harvard and other universities face pressure from the Trump administration to show that they are not clamping down on conservative voices.
Last month, a federal judge ruled that the Trump administration had illegally frozen more than $2.6 billion in federal funding to the school as a “smokescreen” for advancing its political agenda. The Trump administration had frozen the funds over allegations that Harvard was persecuting conservative ideology on its campus as well as fostering a climate of antisemitism.
The school’s mainstream student newspaper, the Harvard Crimson, published three opinion pieces criticizing the rhetoric used in the Salient piece, to which Rodgers published his own article last week lamenting that “ordinary conservative thought is one headline away from criminality.”
“Together, the coverage forms a coherent script. The conservative scholar becomes the reactionary theorist. The traditionalist student becomes the bigot,” wrote Rogers. “‘Fascism’ is no longer a historical reference but a weaponized cliché, a way to place opponents outside the moral guardrails of the University.”
On Sunday, the Salient’s board of directors brought the debate over the Salient to a close and announced that it would suspend its operations pending a review.
“The Harvard Salient has recently published articles containing reprehensible, abusive, and demeaning material—material that is, in addition, wholly inimical to the conservative principles for which the magazine stands,” read the statement from the board, whose ex officio members include the prominent Jewish literature scholar Ruth Wisse.
“The Board has also received deeply disturbing and credible complaints about the broader culture of the organization. It is our fiduciary responsibility to investigate these matters fully and take appropriate action to address them,” the statement continued. “We are therefore pausing operations of the magazine, effective immediately, pending our review.”
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The post Harvard conservative magazine is shut down after publishing article laced with Nazi rhetoric appeared first on Jewish Telegraphic Agency.