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February 2018 AD


The Real
Fiddler on the Roof



The murder of [Solomon Mikhailovich] Mikhoels is usually considered to be a major turning point in the history of Soviet Jewry, marking the transition to a policy of official antisemitism.

His death was followed by the arrest of numerous leading Jewish public figures and the closure of most Jewish institutions in the Soviet Union, including the JAC and the Moscow State Yiddish Theater.

Solomon Mikhoels


The death of Solomon Mikhoels is portrayed by Jews as sort of a Russian Holocaust in the Soviet Union, but expect no Hollywood movies portraying his death, as you would expect for the 250+ Holocaust movies against Germans.

The really interesting part of this story is the four decades where Mikhoels willingly conspired with this evil Judaic-Communist empire, for Jews and against Christians.

In 1918, the year after the "ATHEIST" Judeo-Communists overthrew the Christian Czar,  and began the slaughter 40-60 million Christians in addition to the Czar's family, it is highly interesting to see Jewish life in the Soviet Union continue unabated.

In 1918, [Solomon Mikhoels] enrolled in Aleksandr Granovskii’s Jewish chamber theater, which later became the Moscow State Yiddish Theater.

Mazl-Tov ??  Not a Soviet Communist term for official atheist Soviet state entertainment for the masses, is it?

In the theater’s 1921 Moscow debut of Sholem Aleykhem ovnt (An Evening of Sholem Aleichem), Mikhoels played two lead roles—Menakhem Mendl in Agentn (Agents), and Reb Alter in Mazl-Tov.

"Used his position to balance the theater's mission as a Jewish theater with the ideological constraints of Soviet socialist realism?"

"He directed and starred in a series of productions on revolutionary themes"

Can I humbly translate these two sentences? 

The sentences mean that he made Jewish propaganda plays for the Jewish Commissars running Russia, helping to persecute Russian Christians and indoctrinate "the masses".

In 1928, while the theater was on a European tour, Granovskii defected. The following year Mikhoels was appointed artistic director of the Moscow State Yiddish Theater.

He used his position to balance the theater’s mission as a Jewish theater with the ideological constraints of Soviet socialist realism.

Accordingly, he directed and starred in a series of productions on revolutionary themes written by contemporary Soviet Yiddish playwrights, such as
Dovid Bergelson’s Der toyber (The Deaf; 1930) and Mides hadin (A Measure of Strictness; 1933), Perets Markish’s Nit gedayget (Do Not Worry; 1931), and M. Daniel’s Fir teg (Four Days; 1931).

So Soloman Mikhoels was the original Tevye in the first "Fiddler on the Roof", also called "Tevye and his Daughters". The story of a pious Jewish milkman in Tsarist Russia with six troublesome daughters; Tzaitel, Hodel, Chava, Shprintze, Beilke and Teibel.

Translation again?  A soft-propaganda way for the Judeo-Communist Soviet Union to make the Czar into an evil man. a rewrite of history from the eyes of Jews of course.

If you remember the movie Fiddler on the Roof, the local Christian police chief was "almost" pro-Jewish, in favor of our totally harmless Jewish Tevye, while the "evil" Christian Czar instituted pogroms from the top, forcing our otherwise tolerant Christian police chief to persecute innocent Jews against his will.

All historical bunk of course.

Mikhoels was also widely praised for his popular performances of ... Tevye in Sholem Aleichem’s Tevye der milkhiker (Tevye the Dairyman; 1938).

Had Mikhoels been FORCED against his will to make propaganda films previously, or had Mikhoels had any trouble with the official "ATHEIST" communist government by producing a clearly anti-Christian but spiritual Jewish Fiddler on the Roof, he seems to have not only survived in this environment, but to have thrived.

Mikhoels traveled to the United States as a propagandist for the Soviet Union against Hitler, just six months after Hitler tore up the Stalin-Hitler pact splitting up Christian Poland between them from 1939.

Unlike his predecessor Granovskii at the Jewish Chamber Theater who defected to the West, Mikhoels not only freely returned to the Soviet Union but returned as a Russian hero.

This not only made Mikhoels a dedicated communist, but clearly a conspirator on promoting communism under Jewish rule.

In December 1941, six months after the Nazi invasion of the Soviet Union, Mikhoels was appointed chair of the newly formed Jewish Anti-Fascist Committee (JAC). The JAC, which included leading Jewish luminaries in the USSR, was intended as a propaganda tool to raise awareness of the Soviet war effort abroad and to solicit material donations to the Soviet Union. In this capacity, Mikhoels traveled to the United States, Britain, Mexico, and Canada in 1943 to deliver public lectures and meet with Jewish and non-Jewish officials to discuss the Soviet war effort. His position as chair expanded his public persona, prompting many to regard him as a Jewish representative to the Soviet government.

Well, perhaps things were not so good after all.

Criminals slitting the throats of fellow criminals happens at times I suppose.

On 13 January 1948, while traveling in Minsk on official theater business, Mikhoels was murdered by agents of the Ministry of State Security. Although his death was initially portrayed as a truck accident, the involvement of the government and of Stalin himself has since been confirmed. Mikhoels was initially eulogized extensively and the Moscow State Yiddish Theater was renamed in his honor. Beginning in 1952, however, he was falsely accused of having been engaged in anti-Soviet activity in collaboration with foreign governments.

I understand evil cannot be logically explained, but Mihoels going from absolute hero of the Soviet Union to an absolute enemy of the Soviet Union in a few years is really a far stretch for the imagination, isn't it? 

Charge it up to my total ignorance about Jews, but I chose to believe that Soloman Mikhoels spent the rest of his life, enjoying a comfy private retirement on an idyllic Kibbutz in Israel. One more propaganda act from another internationally famous Jewish actor, that would be such a convincing act as to scare Jews to leave Russia in order to aliyah in Israel.

       
Mikhoels, Solomon Mikhailovich

The YIVO Encyclopedia of Jews in Eastern Europe


(1890–1948), Yiddish actor, director of the Moscow State Yiddish Theater (Gosudarstvennyi Evreiskii Teatr; GOSET), and chair of the Soviet Jewish Anti-Fascist Committee. Solomon Mikhoels (Shloyme Vovsi) was born into an Orthodox Jewish family in Dvinsk. After receiving a heder education, he studied at a Realschule in Riga, the Kiev Commerce Institute, and, from 1915, at the law faculty of Petrograd University. In 1918, he enrolled in Aleksandr Granovskii’s Jewish chamber theater, which later became the Moscow State Yiddish Theater.

Mikhoels also starred in tragic roles, such as the main character in Uriel Akosta (Uriel Acosta; 1922) and as First Badkhn (jester) in Bay nakht oyfn altn mark (Night in the Old Marketplace; 1925). In addition, he starred as Menakhem Mendl in the 1925 film Yidishe glikn (Jewish Luck), based on the stories of Sholem Aleichem. However, while working under Granovskii’s strict ensemble technique and behind the grotesque makeup favored by the director, Mikhoels was rarely given the opportunity to develop realistic characters.

In 1928, while the theater was on a European tour, Granovskii defected. The following year Mikhoels was appointed artistic director of the Moscow State Yiddish Theater. He used his position to balance the theater’s mission as a Jewish theater with the ideological constraints of Soviet socialist realism. Accordingly, he directed and starred in a series of productions on revolutionary themes written by contemporary Soviet Yiddish playwrights, such as Dovid Bergelson’s Der toyber (The Deaf; 1930) and Mides hadin (A Measure of Strictness; 1933), Perets Markish’s Nit gedayget (Do Not Worry; 1931), and M. Daniel’s Fir teg (Four Days; 1931). He also began teaching at the State Yiddish Theater School in Moscow.


The new realism of the late 1930s allowed Mikhoels to explore more psychological roles. His portrayal of Shakespeare’s King Lear in the theater’s 1935 production was the most critically acclaimed performance of his career. Gordon Craig, who saw Mikhoels in Moscow, wrote “I do not recall a performance that stirred me as profoundly, to the core, as Mikhoels’ performance of Lear” (“Tri razgovora s Gordonom Kregom,” Sovetskoe iskusstvo, 5 April 1935). Mikhoels was also widely praised for his popular performances of Zayvl Ovadis in Perets Markish’s epic Mishpokhe Ovadis (Family Ovadis; 1937) and as Tevye in Sholem Aleichem’s Tevye der milkhiker (Tevye the Dairyman; 1938). Mikhoels had a cameo role in the popular musical film Tsirk (Circus) in 1936. In 1939, he was awarded the prestigious Order of Lenin and was named a People’s Artist of the USSR.


In December 1941, six months after the Nazi invasion of the Soviet Union, Mikhoels was appointed chair of the newly formed Jewish Anti-Fascist Committee (JAC). The JAC, which included leading Jewish luminaries in the USSR, was intended as a propaganda tool to raise awareness of the Soviet war effort abroad and to solicit material donations to the Soviet Union. In this capacity, Mikhoels traveled to the United States, Britain, Mexico, and Canada in 1943 to deliver public lectures and meet with Jewish and non-Jewish officials to discuss the Soviet war effort. His position as chair expanded his public persona, prompting many to regard him as a Jewish representative to the Soviet government.


After the war, Soviet citizens appealed to Mikhoels for aid and assistance, while international organizations regularly invited him to conferences abroad, none of which he was allowed to attend. Mikhoels also continued his work in the theater. His most memorable postwar production was Zalman Shneer-Okun’s Freylekhs (Joy; 1945), which was awarded the Stalin Prize in 1946.


On 13 January 1948, while traveling in Minsk on official theater business, Mikhoels was murdered by agents of the Ministry of State Security. Although his death was initially portrayed as a truck accident, the involvement of the government and of Stalin himself has since been confirmed. Mikhoels was initially eulogized extensively and the Moscow State Yiddish Theater was renamed in his honor. Beginning in 1952, however, he was falsely accused of having been engaged in anti-Soviet activity in collaboration with foreign governments.


The murder of Mikhoels is usually considered to be a major turning point in the history of Soviet Jewry, marking the transition to a policy of official antisemitism. His death was followed by the arrest of numerous leading Jewish public figures and the closure of most Jewish institutions in the Soviet Union, including the JAC and the Moscow State Yiddish Theater.



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The Christian Solution             First Release: March 15, 2008