There is one line in the documentary film “Germans & Jews” that illustrates, better than statistics or scholarly studies, the difference between Hitler’s Reich and present-day Germany.
Adam and Eve are in the news again, or at least two medieval paintings of the biblical progenitors of the human race are.\n\n
Adam and Eve are in the news again, or at least so are two medieval paintings of the biblical progenitors of the human race, whose ownership has been contested for a century by noble families, national governments, museums and batteries of lawyers.
It is unusual that two important German films focused on the same protagonist have been released within months of each other, the more so since the central character is a Jewish homosexual who died 48 years ago.
Before the tide of World War II turned at Stalingrad and El Alamein, on the Russian and North African fronts, the year 1942 started as a dark one for Allied forces battling the seemingly unstoppable Nazi war machine.
The multitalented Hershey Felder estimates that he has personified Leonard Bernstein some 600 times in “Maestro,” and, he jokes, “I am actually beginning to know my lines.”
Daniel Burman, the Jewish-Argentine writer and director of “The Tenth Man,” was once offered a film project by a Hollywood studio, but he declined.
Abdul Sattar Edhi, a Muslim humanitarian, died July 8 in Karachi, Pakistan, mourned by millions of Pakistanis and, in Los Angeles, by the family of slain journalist Daniel Pearl.
In 1946, when Theodore “Ted” Comet was 21, he decided to leave his native Cleveland for France to serve as a volunteer counselor at one of the homes set up for the orphaned Jewish children who had somehow managed to survive the concentration camps.
“Judgment at Nuremberg,” one of Hollywood’s seminal films, will mark the 55th anniversary of its 1961 release with a screening on July 12 at 7 p.m. at Laemmle’s Royal Theatre in West Los Angeles.
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