The Kaminitz Hotel: Where Theodor Herzl Couldn’t Get a Room

If you were visiting Jerusalem in the late 19th century, and were a person of means and stature, you might have enjoyed the accommodations of the city's first modern Jewish hotel. Unless of course, your name was Theodor Herzl... We dug through the hotel's guest book and went on a journey back in time.

Theodor Herzl, studio photograph. The photograph is preserved by Yad Yitzhak Ben-Zvi (Israel Revealed), the L'Avenir Illustre ("The Illustrated Future") newspaper collection, Morocco, and is made digitally available on the website of the National Library of Israel thanks to the collaborative efforts of Yad Yitzhak Ben-Zvi, the Ministry of Jerusalem and Heritage, and the National Library of Israel. In the background: drawing for an advertisement for the Kaminitz Hotel.

The Middle Eastern sun beat down on the crowded, filthy streets of the Holy City. Towards the end of Ottoman rule, Jerusalem wasn’t a particularly attractive tourist destination to put it mildly, though certain groups of Jewish and Christian pilgrims did embark on the risky journey even during this period, for primarily religious reasons.

Winds of change began to blow over the city during the latter half of the 19th century. The great colonialist powers helped the Ottoman government wrest back control of Jerusalem, after a brief period of Egyptian rulership under Muhammad Ali and Ibrahim Pasha. In exchange for this aid, the international powers were given a foothold in the famous city, which still struggled to display the grandeur many expected of it.

Britain, Prussia, and France were the first to establish their own institutions and compounds in Jerusalem, and other superpowers followed. Churches and cathedrals were built alongside consulate offices, and this helped attract visitors from all over the world.

The Jews weren’t sitting idly either; Jewish philanthropists who made their fortunes abroad (the most famous being Sir Moses Montefiore) invested in land purchases, sparking a building boom that extended beyond the walls of the Old City. Thus, the “New City” was born. While it was perhaps a bit dangerous in those early days, the living conditions in the new neighborhoods were far better than those within the Old City walls. Meanwhile, the Zionist movement was growing stronger, and it too set its sights on the city from which it drew its name. People like Eliezer Ben-Yehuda, the reviver of the Hebrew language who arrived in 1881, came to settle in Jerusalem, breathing new life into the stone alleyways.

All this led to a lively influx of tourists, visitors and guests of different sorts– Jews, Christians, and Muslims, traders, statesmen, and religious pilgrims. There were people and families in quantities and types that the city hadn’t seen for centuries. Among them was a man named Herzl, whose peculiar story we will elaborate on further down.

One individual by the name of Menachem Mendel Boim of Kaminitz realized that anyone would could provide a decent place to stay in the city would be exploiting a tremendous economic opportunity. Menachem Mendel grew up in an Orthodox Jewish family in Kaminitz (also spelled Kamyenyets or Kamenets), Lithuania, but dreamed of raising his children in the Land of Israel. When he was betrothed to Tzipa, the daughter of Rabbi Uri Lipa, he conditioned their marriage on her family’s acceptance of their immigration to the Holy Land. But a few years later, when the young couple finally fulfilled the husband’s dream, things began to go awry.

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The Kaminitz family at the entrance to the hotel on Jaffa Street. This picture is from the Jacob Wahrman Archive, the National Library of Israel.

The Kaminitz family, who adopted the name of their original hometown, settled in Safed, where they faced an assortment of tribulations: During the 1833 plague, Tzipa and Menachem Mendel lost their firstborn son; during the 1834 Syrian Peasant Revolt (the region was considered part of Ottoman Syria at the time), they experienced physical violence and their home was looted; and the 1837 earthquake left them destitute and homeless.

They decided to move to Jerusalem. There, in the Holy City that was slowly beginning to show signs of modern development, they built their guest house – the first Jewish hotel in the modern Land of Israel. It was quite a modest inn, but it was clean and respectable with its European stylings, providing accommodation along with Tzipa’s excellent home-cooked meals to tourists of all religions who made their way to Jerusalem.

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opening its gates to our brothers, lords and counts, who come to visit our holy land, and who find their tables here finely prepared for their pleasure…” – a pathos-drenched advertisement for the Kaminitz Hotel in the Havatzelet newspaper, January 1, 1909 [Hebrew]. From the National Library’s Historical Jewish Press Collection.

Although it was the first of its kind, this modest establishment wouldn’t have entered the annals of history had it remained as it first was. It was Menachem Mendel’s son, Eliezer Lipman Kaminitz, who took the family business to the next level. First, he moved the hotel to Jaffa Street (it was located in a previous incarnation of what is now Jerusalem’s well known Clal Center), but he wasn’t satisfied with that location. In 1883, he rented a building situated between Ha-Nevi’im (The Prophets) Street and Jaffa Street from the Volhynia Kolel and officially opened the new, modern “Hotel Jerusalem”. Despite Eliezer’s attempts at rebranding, the establishment quickly became known to all as the newest incarnation of the, by now familiar, “Kaminitz Hotel”.

This was no longer a modest inn offering only clean beds or a decent breakfast. A garden was planted in the courtyard and a wide path was paved for carriages. The hotel rooms were equipped with all the comforts of the era: chamber pots, mosquito nets, and bathing basins awaited travelers who often arrived dusty and tired. The hotel lobby offered a daily page summarizing the latest international headlines from the Reuters News Agency. In the center of the room stood the pinnacle of modern technology in the form of an elegant telephone device. The telephone number was 53.

Modernization took over all aspects of the hotel’s management, including its marketing. Advertising posters were designed and sent to selected newspapers in Europe, and the Kaminitz family signed deals with travel agents who met tourists arriving at the train station and offered them tour packages that included the finest accommodations to be found in the area – the Kaminitz Hotel.

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Drawing for an advertisement for the Kaminitz Hotel, Jerusalem. The image is preserved by Yad Yitzhak Ben-Zvi (Israel Revealed), the Shoshana Halevi Collection, and is made digitally available on the website of the National Library of Israel thanks to the collaborative efforts of Yad Yitzhak Ben-Zvi, the Ministry of Jerusalem and Heritage and the National Library of Israel.

Business was booming and the guests, for the most part, were very pleased with the service, the cleanliness, and the excellent food, which had a good reputation among local Jerusalemites as well. For example, as the British consul’s wife Elizabeth Finn wrote, European bread could only be obtained at Kaminitz.

Although the meals at the hotel were strictly kosher and one of the spacious rooms was designated as a synagogue and Beit Midrash (Jewish study house), guests came from all over the world and from a wide range of religions and nationalities.

In the hotel guest book, preserved today at the National Library, you can find the complements showered upon the establishment by its guests (mostly male, since the custom of the time mandated that when couples and families arrived at the hotel, it was the man who was given the privilege of inscribing his impressions). The guest book entries were written in Yiddish, 19th-century Hebrew, Arabic, English, French, German, and many other languages.

Alongside plenty of unclear signatures and unfamiliar names, one can also find the autographs of a range of well-known figures. Among the hotel’s guests were people like Baron de Rothschild, Ahad Ha’am, Nahum Sokolow, Lord Herbert Samuel, Joseph Carlebach, Menachem Ussishkin, Dr. Joseph Klausner, Rabbi Abraham Isaac Kook, Henry Morgenthau Sr., Naftali Herz Imber, and others.

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The Kaminitz Hotel’s guest book, preserved at the National Library of Israel. A stunning variety of languages and handwriting styles

There is only one dubious guest experience at the famous hotel that we’re aware of, and it involved Theodor Herzl.

Herzl arrived in Jerusalem to meet with the last German Emperor, Wilhelm II, who was then visiting the Holy Land. Given everything described above, the Kaminitz Hotel was Herzl’s preferred choice of accommodation. He booked rooms in advance – for himself and for the several companions who joined him.

But the Emperor’s visit was an Olympic-scale event for Jerusalem, which, despite its historical significance, was still a relatively small city. The demand placed on tourism and transportation services was immense, and Herzl, who had fallen slightly ill with a fever during the trip, ran into complications.

The train that was supposed to arrive on Friday afternoon in Jerusalem was either delayed or at full capacity, and the Zionist visionary had to wait for a later train that was not on the original schedule but was added due to the overload. Reports on this are somewhat contradictory, but one thing is clear – the train with the ailing and miserable Herzl only arrived at the Jerusalem station in the evening, after the Jewish Sabbath had already begun.

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Herzl at the Western Wall during his visit to the Land of Israel. This photograph is preserved in the Rosh Pina Archive and is digitally available on the website of the National Library of Israel, thanks to the collaborative efforts of the Abraham Blum Rosh Pina Archive, the Ministry of Jerusalem and Heritage, and the National Library of Israel.

The hotel carriage that was supposed to be waiting for him at the station was no longer there, and Herzl adamantly refused to use any other carriage so as not to offend the Sabbath-observant Jews in the city. Lacking any other option, the small group set out on foot, at the slow pace of someone feeling unwell and unused to the Middle-Eastern weather and rough roads.

The travelers weren’t too bothered. They were sure they would soon arrive at the hotel and enjoy a good meal, a bath, and a warm bed, where Herzl could recover for his meeting with the German Emperor. But an unpleasant surprise awaited them. Once the Sabbath had begun, the hotel staff assumed that Herzl wouldn’t be arriving that day. There was a long waiting list full of German nobles and military men who had accompanied the Emperor to Jerusalem, so the staff figured there was no need to leave the rooms empty. When Herzl arrived, someone else was sleeping in his bed.

There is general consensus about the story so far, but from this point on, it differs depending on the teller. It was late at night and Herzl had no place else to go, so he had no choice but to stay within the confines of the hotel. What happened next seems to be a matter of opinion.

According to the most uneventful version of the story, he was given a tiny, uncomfortable room to share with one of his companions. Other versions claim that he had to make do with an old bed that was dragged out of storage and placed in a corridor without any privacy, or that Herzl simply slept on a pool table in the lounge since there were no beds available.

Either way, the members of Herzl’s small entourage were less than impressed with the hotel after this miserable experience. The next morning, they left and spent the remainder of their time in the country at “Stern House” near the Mamilla neighborhood.

This unpleasant incident didn’t affect the business of the Kaminitz family, who by then had become successful hoteliers, opening establishments in other cities including Hebron, Jaffa, Jericho, and Petah Tikva.

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The next generation expanded the family business. Pictured: Abraham Bezalel, Eliezer Lipman Kaminitz’s eldest son. This picture is preserved by Yad Yitzhak Ben-Zvi (Israel Revealed), the Julius Jotham Rothschild Collection, and is made digitally available on the NLI website thanks to the collaborative efforts of Yad Yitzhak Ben-Zvi, the Ministry of Jerusalem and Heritage, and the National Library of Israel.

As for the hotel itself, by the early 20th century, the building was too small to meet demands, and it moved to a more spacious building near the Old City’s Jaffa Gate.

When World War I broke out, the Ottoman authorities confiscated the building on Ha-Nevi’im Street. Since then, it has served as a post office, school, residential building, and workshop.

If you make your way to Ha-Nevi’im Street in Jerusalem, you can see a faint shadow of this once magnificent hotel. The building still stands today, neglected and gloomy, with the threat of demolition looming over it due to insufficient interest from the authorities.

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Impressions in Arabic of a different era in Jerusalem: “… when I arrived at this place, I found only comfort and tranquility,” from the guest book of the Kaminitz Hotel, which is preserved at the National Library of Israel.

Remembering Ephraim Kishon, Israel’s Champion of Satire

Israel is marking a century since the birth of its greatest satirist. No doubt, he would have a lot to say about the current state of Israeli society…

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Ephraim Kishon in his office, 1971, photo by Boris Karmi, the Meitar Collection, the Pritzker Family National Photography Collection, the National Library of Israel

During Iftach Leibovich’s childhood in Jerusalem, the family would play a board game called Havila Higiya (“A Package Arrived”). The premise was this: You receive a letter stating that something reached the post office and to come pick it up. Along the way, you confront obstacles to attaining the package: missing identification papers, needing a new photo for the ID and so on.

The game was all too realistic for Israelis used to the daily struggles of accomplishing basic tasks in a bureaucracy-laden society.

“It was the stupidest game and the most brilliant game,” said Leibovich.

Havila Higiya was created by Ephraim Kishon, still acclaimed as the greatest humorist, satirist and social commentator in Israel’s history. Kishon, who died in 2005, was born 100 years ago this month.

Ephraim Kishon in 1966, photo by Boris Karmi, the Meitar Collection, the Pritzker Family National Photography Collection, the National Library of Israel

One of his legacies is that Leibovich is the artistic director of the Israel Comedy Festival in Honor of Ephraim Kishon, a week-long celebration held each August at Jerusalem’s Incubator Theater.

The event includes lectures and stagings of Kishon’s work, along with contemporary comedic plays and stand-up appearances.

Experts tie Kishon’s keen observations of society, from the perspective of an average Israeli, to his being an outsider. Kishon was a Holocaust survivor from Hungary whose name — he was born Ferenc Hoffmann — was Hebraicized by a port official upon immigrating in 1949.

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Chaim Topol and Esther Greenberg in the film Sallah Shabati, written and directed by Ephraim Kishon. From the Chaim Topol Archive, courtesy of the family and with the cooperation of the Ministry of Jerusalem and Heritage, the National Library of Israel and the University of Haifa (colorization by MyHeritage)

He quickly learned and mastered Hebrew and soon was penning columns in the language in local newspapers. He went on to write books and screenplays and make films. Two of the five movies he directed, Sallah Shabati (1964) and The Policeman (1971), which he also wrote and co-produced, earned Academy Award nominations as best foreign-language films.

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A promotional poster for the 1971 Oscar-nominated Hebrew film The Policeman, written and directed by Ephraim Kishon and starring Shaike Ophir, the Jerusalem Cinematheque – Israel Film Archive Collection, available online via the NLI digital collection
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Ephraim Kishon pictured with Shaike Ophir and wife at the premiere of the film The Fox in the Chicken Coop, May, 1978. Photo by Danny Gotfried, the Dan Hadani Collection, the Pritzker Family National Photography Collection, the National Library of Israel

The Family Book (titled in its English translations as My Family, Right or Wrong), Kishon’s 1977 collection of essays and fiction stories about home life during his early years in Israel, is said to be the second-most-purchased book in Hebrew after the Bible.

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Topol and Kishon with the Golden Globe, Maariv, February 19, 1965, the Historical Jewish Press Collection at the National Library of Israel

Both Leibovich and Ziv Hermelin-Shadar — who at the festival hosted podcasts discussing each of the films screened daily, dubbed “Kishoncasts” — cited The Family Book as a key influence.

It was the first book Leibovich’s father gave him — the boy was about 13 — and, “from that, I became a big fan of Kishon,” he said.

Hermelin-Shadar was about 10 when he first read it. “It’s a book that’s very Jewish and very family-oriented,” he said. “It makes me laugh. Kishon, in his stories, is trying to live life, and other people are ruining it for him. He succeeds in capturing the wackiness … of Israeli society.”

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Ephraim Kishon with Menachem Begin, Israel’s Prime Minister at the time, at the premiere of the film The Fox in the Chicken Coop, May, 1978. Photo by Danny Gotfried, the Dan Hadani Collection, the Pritzker Family National Photography Collection, the National Library of Israel

Such wackiness arose recently over a play scheduled for this summer’s festival. The play’s promotional poster unintentionally sparked a controversy Kishon might’ve enjoyed.

The poster shows the faces of three men and the play’s title, Naked. The word is meant as a metaphor for the show’s theme as a behind-the-scenes look at how a circus operates. No one is nude. But some Jerusalem residents presumed indecency and pressured the mayor’s office to withdraw its funding for the festival and to shut down the show. Leibovich wrote a long letter defending the work and stressing that no one appeared naked.

“It’s poetic that this happened at a Kishon festival,” he said. “To make a big deal about it was a farce. There was nothing for me to fight against because there was nothing to censor.”

The show’s three performances proceeded as scheduled.

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Ephraim Kishon with Yitzhak and Leah Rabin, at the premiere of the film The Fox in the Chicken Coop, May, 1978. Photo by Danny Gotfried, the Dan Hadani Collection, the Pritzker Family National Photography Collection, the National Library of Israely

Kishon’s accomplishments went hand-in-hand with insecurity. Alongside placards of his films and plays on his office’s walls appeared articles written by critics.

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Ephraim Kishon in his office, 1973. Photo by IPPA staff photgrapher, the Dan Hadani Archive, the Pritzker Family National Photography Collection, the National Library of Israel

“He felt he wasn’t appreciated. He wanted more love from critics,” said Hermelin-Shadar. “He was a great success, but felt that he wasn’t accepted here as [such].”

Following his father’s death at his summer home in Switzerland, Rafi Kishon was asked to develop a one-man show for Tel Aviv’s Cameri Theater. As a veterinarian, he’d spoken about animals on numerous television programs and was comfortable appearing before the camera. But writing and performing in the show, Ten Things You Didn’t Know About Ephraim Kishon, was extra-gratifying, he said.

He performs it monthly at the Cameri — it’s now titled Ephraim Kishon: Humor, Life and Films — and accepts private bookings from groups. The appearances involve screening movie clips and telling stories about his father.

“What I say is unique about Ephraim Kishon’s humor is that it unites Israelis of all types,” he explained.

“I take it as a compliment when I perform and people say, ‘The apple didn’t fall far from the tree.’ It’s a good feeling to walk in my father’s shoes.”

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Ephraim Kishon in his office, 1971, photo by Boris Karmi, the Meitar Collection, the Pritzker Family National Photography Collection, the National Library of Israel

Leibovich, too, has walking in mind. For a Kishon festival, he’d like to organize an interactive version of Havila Higiya, with participants following the game’s instructions to traipse around Jerusalem in an effort, challenging as it promises to be, to pick up a package at the post office.

“I’ve dreamt of it,” he said, “since the first festival.”

Writer-editor Hillel Kuttler can be reached at hk@HillelTheScribeCommunications.com

Dan Hadani: A Life Documenting Israel

The story of how one man's successful photography company was able to document life in Israel across several decades. Why did he later decide to destroy his life's work? Dan Hadani is celebrating his 100th birthday, and to mark it he told us of his personal journey which led him to granting all of us an invaluable gift of photographic documentation. This was his creation – now it’s our story.

Left: Dan Hadani during a visit to the National Library of Israel, 2024. Right: Dan Hadani taking photos during a visit to Egypt during the peace talks, 1977. Photo by David Peretz, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel

On August 24, 2024, Dan Hadani marked his 100th birthday. He celebrated this joyous event with a party, almost an act of defiance against life itself – against everything he experienced as a child in Poland, against everything the State of Israel has been through, and against the terrible ordeals of the past year – letting everyone know: I’m still here!

He uses a walker and is easily tired, but his mind is clear and sharp and his memory promises to provide us with a fascinating story, spread out over a century, a story which cannot be done justice even with a thousand pictures.

In the hundred years that have passed since his birth, he has managed to reinvent himself a number of times and live multiple lives with the resourcefulness of the proverbial cat. In his most significant incarnation, the one based in Israel, he built one of the most important visual archives collected here with his own two hands, a monumental life project for one man.

In 2016, that project faced destruction – at the hands of its creator. After decades of devotion to photographs and documentation, Hadani decided that the two million negatives, meticulously cataloged and a photographic testament to events in Israel from 1965 to 2000, would be destroyed.

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Dan Hadani was born Dunek Zloczewski in Lodz, Poland.

He began life as a Polish Jew raised by a Zionist family. As a child, he saw his parents take pride in their work and craft, and that striving for professional excellence became a part of him. From his father, he learned the difficulty of living as a Jew in a state that was not his own, dealing with emerging antisemitism, and the importance of mutual aid and charitable works.

He spent his youth trying to survive in the Lodz Ghetto and then in Auschwitz, where he met Dr. Mengele and where he was largely able to avoid the wrath of his Nazi workmasters. He managed to survive and to offer support to others who suffered worse fates. He used everything he had – knowledge of languages, the ability to learn quickly, as well as technical skills – in order to show how necessary he was to the SS men. At the same time, he served as an assistant to the ghetto doctor and tried to do everything he could to help his friends in need.

In 1945, Hadani was freed from Nazi captivity. His parents and his only sister, however, had already been murdered by the Nazis. Although he had other options, Hadani felt it was clear that he would fulfill his parents’ unwritten will, realizing their Zionist dream and making Aliyah to Israel.

A year later, Hadani went to study seamanship in Italy. He passed the course with flying colors and immediately returned to Israel: “I came on Aliya Dalet – 3,000 people with forged passports. I had a Dutchman’s passport, a Jew who lived in Israel.”

A day after he arrived, he was enlisted in the navy of a country that had just been established: “I didn’t know a word in Hebrew; here and there ‘Shalom’ or words like that,” he recalled. “But on the ship the orders were in Hebrew. I often asked ‘What’s that word?” and they translated it for me. That’s how I learned. There were a hundred and twenty soldiers on the ship, the vast majority of them new immigrants and they gave us orders in this way. That’s how I learned Hebrew.”

It wasn’t the first time Hadani was thrown into a situation alone and without basic knowledge. As he had done before, he used his amazing resourcefulness and survival abilities to develop within the navy, from a new immigrant who knew no Hebrew to an officer who served for 15 years.

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David Ben-Gurion, photographed by Dan Hadani on Israel’s 25th Independence Day. May 7, 1973, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel

And then, somewhat surprisingly, his last appointment in the IDF was as a press officer for the IDF Spokesperson’s Unit. The change had a dramatic effect on him: “In the IDF Spokesperson’s Unit I received the shock of my life. I met with reporters at Sokolov House, suddenly I heard all the stories.” Instead of making efforts to hide secret operational activity, Hadani now had to think differently. As a press officer, he was responsible for managing, accompanying, and briefing journalists and photographers from Israel and around the world, helping them cover events related to the IDF. This, he admits, was his apprenticeship in journalism.

When he was released from the IDF a year later, he had a clear idea of what he wanted to do next. He was 41 years old: “The moment I got out of the army, I had an idea what I would do. I wanted to form an association, a group of photographers, and open a company, a cooperative of press photographers. I wanted to be the one organizing it, just like I was during my time in the IDF Spokesperson’s Unit.”

While serving in the unit, Hadani had identified the need for a professional agency for photography and press purposes, which could quickly cover events across the country: “I wanted to establish a large cooperative and see to people’s livelihood. I saw that we lacked a specific body in the country, that we weren’t initiating contact with people from outside of Israel, with the foreign press.” Everyone who heard the idea tried to talk him out of it, saying it was too big a project for him and that he would fail before he even started.

Despite this, he gathered together some photographers he knew to pitch the idea: “Some 10, 12 photographers came, and I told them what I wanted to do. And then one photographer got up in the middle and asked: ‘Tell me, you want us to run out and take pictures while you sit in the office? I’ll be running around and you’ll get money to sit at a desk? You want me to hand over my salary to you?”

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An article and photos by Dan Hadani, dedicated to artists Meir and Makvalla Pichhadze. Maariv, February 20, 1976, the Historical Jewish Press Collection at the National Library of Israel
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An article about a poverty-stricken family, photos by Dan Hadani, Maariv, April 11, 1969, the Historical Jewish Press Collection at the National Library of Israel

Nothing came of the meeting, but Hadani wouldn’t give up and decided to go it alone. For many long months, he worked as a freelance photographer, even getting writing opportunities from foreign journalists: “If I needed a photographer, I ordered a photographer for pay – on one condition: that the negatives were mine,” he said. When at one point he couldn’t find a photographer, he bought a camera and began taking his own pictures.

Slowly but surely, Hadani gained success and clients, ultimately realizing the dream he envisioned when he first left the army. He established the Israel Press & Photo Agency, or IPPA. He worked with salaried and freelance photographers, both in Israel and around the world. Over the course of 45 years of activity, the agency covered almost every important event in Israel: if there was a big concert, government meeting, or terror attack – Hadani’s photographers were there. In fact, if you were reading newspaper reports about Israel during this time, you probably saw thousands of his agency’s photographs.

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A photo by Dan Hadani, featured in an article about Israel’s new F-16 fighter jets. Davar, July 3, 1980, the Historical Jewish Press Collection at the National Library of Israel

Hadani took care to properly preserve all the photos he received and all the rights he acquired. With admirable care for detail, he cataloged and maintained the negatives from all the photos which reached the agency, quietly cultivating an archive which documented much of life in the State of Israel at ground level.

Hadani is proud, and rightly so, of his journalistic achievements: The photo of the father of Robert Kennedy’s assassin, Sirhan Sirhan, reading a newspaper with the article on the murder, became world-famous. A photo showing Menachem Begin bending over before Anwar Sadat and Jimmy Carter (he was picking something up) during a peace treaty ceremony was also a hit and a nice change from the generally rigid statesmanship of the time. There was also an article featuring the first photos of legendary Soviet WWII-era spy Leopold Trepper following his arrival in Israel. Trepper immigrated in 1974 and spent the last few years of his life in the country. To this we can add hundreds of thousands of pictures, piles of film documenting major cultural and political events as well as wars and terrorist attacks.

A photo by Dan Hadani, showing Israeli PM Menachem Begin bent over next to Egyptian President Anwar Sadat. US President Jimmy Carter is standing behind Sadat. This photo was taken on March 25, 1979, ahead of the signing of the historic peace treaty between Israel and Egypt. The Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel

When he decided to close the agency and retire, he didn’t know what would become of the archival treasure trove he had developed over decades: “I created something that doesn’t exist in the country. It was my own little quirk. It’s hard for me today to understand how I even ended up doing it. You cultivate it. You keep perfecting it. And it’s hard. It’s hard to let go…”

He tried to find a place which would take his life’s work in its entirety and understand its incredible inherent value. After a few years of fruitless searches and failed deals, he decided with sadness to destroy the project he had dedicated much of his life to: “I was about to buy two shredders to begin destroying the negatives. I cried. To destroy such a thing? I knew there was a treasure here.”

Fortunately, Hadani discussed his intentions with his daughter-in-law, Batya Calderon, who quickly appealed to Dr. Hezi Amiur, curator of the Israel Collection at the National Library. Amiur immediately understood the value of this archive and succeeded in convincing Hadani to provide the National Library with the entire collection, which could then serve the broader public.

Despite the great difficulty in saying goodbye to the illustrious project he’d cultivated for years, Hadani had finally found a home for his life’s work: “I am happy and I am content,” he said. “I am very proud that it’s in the best hands I could have dreamed of.”

Watch our special interview with Dan Hadani (English subtitles available via Youtube’s auto-translate option)

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Even at 100 years old, Hadani refuses to sit back and take it easy. Last year, he built up a website on the Wix platform which tells the story of his life and his journalistic achievements, as well as other challenges he overcame in life. He still drives a car and takes care to remain curious and incisive, even today: “I expect and am waiting to enjoy the future. And I will rest a little, because I work very hard.”

With the look of a sober, knowledgeable man, keenly aware of the past and looking firmly towards the future, he made a very specific request in honor of his birthday: “I want to see a good future. I want to see the state I built. Today I don’t see it.”

From “Bourekas Films” to the Israel Prize: Menahem Golan’s Israeli Hollywood Story

It's been a decade since the passing of legendary film producer Menahem Golan. His remarkable career began with films poking fun at Israel's unique social fabric, but he would go on to work with the likes of Chuck Norris, Sylvester Stallone and Meryl Streep.

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Lee Marvin (left), Chuck Norris (center) and Menahem Golan (right) on the set of "The Delta Force", 1985, photo by IPPA staff, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel

In 2005–06, Menahem Golan, a film mogul in Israel and later in the United States, sat down for a series of lengthy interviews.

“Once he started talking about cinema, his eyes lit up,” said Shmulik Duvdevani, a film professor who with a student conducted the interviews at Golan’s office in Tel Aviv and home in Jaffa.

The conversations totaled 15 hours and are part of a project, the Israeli Cinema Testimonial Database, documenting the early decades of the country’s film industry.

“You can call him the father of popular Israeli cinema, films meant for mass audiences: comedies, melodrama, action,” said Duvdevani, who teaches at Tel Aviv University and Jerusalem’s Sam Spiegel Film and Television School. “He helped to build the Israeli film industry.”

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Menahem Golan directing the classic Israeli film Kazablan, 1973, photo by IPPA staff, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel

Golan began his career in Israeli theater, but discovered his calling as a movie director and producer in the 1960s and ‘70s in a genre known as “bourekas films” that depicted Ashkenazi and Sephardi characters engaged in ethnicity-based misunderstandings and conflict.

Few Israelis made any styles of movies then, and little appreciation — let alone funds — existed for high production values. Sound quality was so poor that subtitles were sometimes a necessity. Shots that belonged on the cutting-room floor remained in the film.

But the genre was “an important stage” in Israeli cinema’s development, said Rami Kimche, a professor at Ariel University and author of a 2023 English-language book, Israeli Bourekas Film: Their Origins and Legacy.

And while Golan, the son of immigrant parents from Poland, might not have intended to break social barriers with films portraying Mizrachi Jews, he recognized them as part of his ticket-buying audience.

“He was a businessman, a theater man, a producer. He was important because he was the first,” Kimche said.

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Yehoram Gaon and other actors in character on the set of Kazablan, 1973, photo by IPPA staff, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel

Kazablan, a 1973 bourekas musical Golan directed based on a play and a previous film, was “a major, major production, definitely was groundbreaking and was the peak of his work,” said Isaac Zablocki, director of the New York-based Israel Film Center. Golan directed three other bourekas films: Fortuna, Aliza Mizrachi and Katz V’Carasso.

Golan’s best-known movie in the genre was one he produced: Sallah Shabati, starring Chaim Topol and directed by Ephraim Kishon. It garnered Israel’s first nomination for an Academy Award, in 1964, in the foreign-film category.

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A Hebrew promotional poster for the film Sallah Shabati, produced by Menahem Golan, from the Avraham Deshe (Pashanel) Archive which is made accessible courtesy of the family and as part of a collaborative initiative between the Ministry of Jerusalem and Heritage, the National Library of Israel and the University of Haifa.

Three other Golan works earned foreign-film Oscar nominations: I Love You Rosa (1972), The House on Chelouche Street (1973) and Operation Thunderbolt (1977), which told of the previous year’s rescue by the Israel Defense Forces of hostages held in Entebbe, Uganda.

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Menahem Golan (left) directs Yehoram Gaon, who again starred in one of his films, this time as Yoni Netanyahu in Operation Thunderbolt, based on the IDF’s daring hostage rescue mission in Entebbe, Uganda, 1976. Photo by Danny Gotfried, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel

In 1979, Golan moved to Hollywood, where he and his cousin, Yoram Globus, bought a studio, Cannon Films, and set out to make blockbusters on the world’s largest stage.

Their lead actors included Robert Mitchum, Sean Connery, Rock Hudson, Katharine Hepburn, Lauren Bacall, Faye Dunaway, Martin Sheen, Roger Moore, Rod Steiger, Donald Sutherland, Shelley Winters, Maximilian Schell, Jon Voight, Walter Matthau, Alan Bates, Isabella Rosselini, Sally Field, Michael Caine, Kim Basinger, Ellen Burstyn and a young Meryl Streep. Tough guys Charles Bronson and Chuck Norris performed in multiple Cannon films — and Sylvester Stallone and Jean-Claude Van Damme also starred. So did two global figures: opera singer Placido Domingo and ballet dancer Mikhail Baryshnikov.

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A promotional poster for Over the Top, starring Sylvester Stallone and directed by Menahem Golan, courtesy of The Cannon Group, Inc.

Noted directors signed on, too: Lina Wertmuller, Robert Altman, John Frackenheimer, John Cassavetes and Roman Polanski.

Ruth Golan remembers buying a beautiful, long dress to attend a screening of her father’s 1984 film, Ordeal by Innocence. Not just any screening, but one held at a London theater, in the presence of Queen Elizabeth II and Prince Philip. Golan was seated beside the queen. He was instructed not to wear a wristwatch, lest it inadvertently tangle on the monarch’s dress, his daughter said.

As girls, Ruth and her two sisters hung around Golan’s movie sets. She met actress Gila Almagor — and Michal Bat-Adam, who played the title role in I Love You Rosa and with whom she’s remained friends. Later on, she met Stallone, Voight and some of the other American stars working for her father.

While Cannon didn’t release critically acclaimed films, many turned profits. The studio certainly was a sequel factory: Lemon Popsicle and its six sequels, four sequels to Death Wish, four Ninja films, Delta Force and two sequels, Emmanuelle VII, Superman IV, Missing in Action 3, Exterminator 2, Breakin’ 2, Missing in Action 2 and Texas Chainsaw Massacre 2.

“Sometimes there was money; sometimes, not. Sometimes we had a home; sometimes, not. It wasn’t stable, but it was wonderful — up to a point,” Ruth Golan said.

Golan, said Zablocki, made films on the cheap, what once were called B movies. As an example, Zablocki cited the “low production quality” of Superman IV, which included scenes of Superman flying that looked “so much more fake than” in the previous three films.

But Golan thought big. He even built a studio in Neve Ilan, west of Jerusalem, intending to draw international directors to make films in Israel. His own The Delta Force, starring Norris, was filmed at the studio, but not its two sequels.

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Menahem Golan (center) holds court with Chuck Norris (left) and Lee Marvin (right) on the set of The Delta Force, 1985, photo by IPPA staff, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel

“He was interested in making a Hollywood in Israel,” Duvdevani said.

The international film studio at Neve Ilan didn’t last, but a stronger Israeli film industry eventually emerged. “It feels like an important building block,” Zablocki said.

Israel itself was a sequel in Golan’s life. He returned to the country for good in the 1990s and was awarded the 1999 Israel Prize, given for lifetime achievement. Golan died in Jaffa 10 years ago this month. The National Library of Israel has an extensive photograph collection documenting Golan’s career.

“He was a loving father, but also was busy with his career,” Ruth Golan said. “He loved what he did.”

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Menahem Golan on the set of Kazablan, 1973, photo by IPPA staff, the Dan Hadani Archive, the Pritzker Family National Photography Collection at the National Library of Israel

Writer-editor Hillel Kuttler can be reached at hk@HillelTheScribeCommunications.com.