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Hollywood’s Unknown Rescuer
Before Schindler’s List, an L.A. studio boss saved hundreds of Jews from the Holocaust. Why was he alone?
Two weeks later, Jack Warner traveled from London to Paris. There he learned that the German-born sister of one of his employees, Joseph Westreich, had been seized from their parents’ home in Frankfurt and deported to Poland. Westreich’s sister Rosalie recalled Warner’s response. “He said, ‘Is there anything I can do?’ and fortunately my brother had the presence of mind to say yes, if you give an affidavit, my sister might be able to emigrate to the United States,” she told an interviewer for the Shoah Foundation. “So, he went to the American consulate in Paris, and being Jack Warner he didn’t need any of the formalities that were necessary in those days.” Warner quickly filed an affidavit. Regina Westreich arrived in the United States safely, before the war broke out.
Through September 1939, when Germany invaded Poland and war was declared between Britain and Germany, Harry Warner continued trying to open the door for large numbers of refugees. His strategy was informed by his years as a movie tycoon who had helped build an empire based on influence and leverage. He sent a film crew to Alaska as part of a plan to convince Roosevelt to resettle Jewish refugees in the territory in a real-world antecedent of the fictional mise-en-scène of Michael Chabon’s Yiddish Policemen’s Union. (After the war, Warner lobbied Truman—unsuccessfully—to revisit the idea as a means of moving Jews out of the DP camps in Europe.) His studio produced a short film, The Nine Million, to promote the idea of lifting American immigration quotas for refugees from fascism. Warner Bros. also put out the explicitly anti-Hitler Confessions of a Nazi Spy, despite intense opposition from the censors responsible for keeping American films politically neutral.
There’s no question that the Warners—and Harry Warner in particular—cared about the fate of Europe’s Jews, far more than most of their fellow Jewish studio heads. While Harry Warner was lobbying Roosevelt, the producer David O. Selznick, always hesitant about being too publicly Jewish, was busy burning down a studio backlot for Gone with the Wind, which swept the 1939 Oscars. That year, Louis B. Mayer was the highest-paid executive in America, a man who, for the price of his annual dues at Hillcrest, the Jewish country club just south of Beverly Hills, could have sent 60 German Jews like Johanna Rockmann the $50 they needed to land in Santo Domingo. Instead, in June of 1939, he hosted a delegation of German reporters on the MGM lot, in an effort to maintain his favor with the Nazi regime; MGM was among the last three American studios to have their hugely profitable distribution rights in the Third Reich revoked, in 1940.
Yet the Warner archives contain no hint, aside from the survival of the letter itself, of whether Harry Warner ever responded to his supplicant Johanna Rockmann. Her heartrending plea for an affidavit wasn’t the only one Warner received. On Jan. 22, 1939, another letter came, this time from Vienna, newly annexed into Nazi Germany. “I came across the speech you held lately in Hollywood and it made a great impression on me,” wrote Sigmund Zucker, a 52-year-old engineer, whose British-born wife Gladys had, unfortunately, adopted Austrian citizenship, trapping them both with passports issued by Hitler’s Reich. “By helping me with an affidavit, you would be doing a good deed to a worthy man.” He attached a small black-and-white photograph, presumably of himself: a handsome man with dark hair brushed back, wearing a suit with a waistcoat and a white handkerchief. He was not smiling.
If Warner did attempt to rescue the Zuckers, he was only partially successful. According to passenger manifests kept by Britain and Australia, the couple left Southampton, England, for Australia in May 1939, stopping in Ceylon en route. Johanna Rockmann wasn’t so lucky: On Jan. 29, 1943, she was deported from Berlin to Auschwitz, where she was killed the following month.
It’s impossible to know how many Hollywood moguls and stars received appeals from strangers like Johanna Rockmann and Sigmund Zucker. As the situation deteriorated in Germany, the country’s trapped Jews became desperate enough to ask the ultimate favor from people they barely knew—in letters that in some cases still exist, buried in archives and in family correspondence. Doctors wrote to colleagues they’d met at medical conferences decades earlier, asking for help. Others scoured the Manhattan phone books, available at the Berlin public library, for people with the same surname—an idea popularized in an underground handbook written by Joseph Wechsberg, a Czech journalist who fled Germany via Montreal. “If you were an American Jew of German ancestry then you were going to get these appeals,” said Laurel Leff, who in writing about the New York Times and its coverage of the Holocaust came across affidavit requests sent to the Sulzberger family by people claiming distant family relationships. “People found themselves in this situation where if they did nothing they could die, and all they could do was write these pathetic letters.”
Along with committing to future financial support, American visa regulations required an affiant to provide proof of assets—arguably easier, or at least more palatable, for a retired mogul or a contract writer than for the working head of a large corporation, or for the head of a family trying to make ends meet. “A lot of people said no,” Leff said. “That’s the dirty secret.”
But, as Carl Laemmle’s story shows, they could have said yes.
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