UPDATE: There’s No Place Like This Place, Anyplace sold out!
The Ontario Jewish Archives and the Toronto Jewish Film Festival are presenting a virtual film series celebrating the life of theatre impresario Ed Mirvish and his beloved discount department store, Honest Ed’s, which closed in 2017.
The series, The Honest Ed’s Experience, which runs until Sept. 2, opened on Aug. 25 with the 75-minute documentary There’s No Place Like This Place, Anyplace, named for one of the bombastic signs on the store’s exterior.
Directed by Lulu Wei, the 2020 film profiles gentrification in Toronto through the history, demolition in 2018, and redevelopment of the Honest Ed block, which encompassed the 68-year-old store and the adjacent Mirvish Village on Markham Street, a row of houses where Mirvish rented inexpensive space to artists and art galleries.
For the documentary, Wei interviewed residents of the area, Bloor and Bathurst, who were affected by the loss of the block.
“Laments for these lost places and their dislocated inhabitants are captured by Wei,” wrote Peter Howell in the Toronto Star. “It’s not a feel-good memory piece about Ed Mirvish, who is seen only briefly in archival footage.” Mirvish died in 2007 at age 92.
Two of the films in the series focus on Mirvish: A Day in the Life of Honest Ed’s and Honest Ed Mirvish: The World’s Most Unusual Shopkeeper. A third film, Honest Frank, is the story of an immigrant who worked in the department store.
A Day in the Life of Honest Ed’s is an eight-minute film made by a group of York University students in 1978. One of the young filmmakers was Larry Weinstein, who went on to make Inside Hana’s Suitcase and Dreaming of a Jewish Christmas.
Honest Ed Mirvish: The World’s Most Unusual Shopkeeper (1998) is John Martin’s 54-minute in-depth portrait of Mirvish, from his beginnings as the child of Jewish immigrants from Austria and Lithuania who ran a small grocery store on Dundas Street, to his being made a Commander of the British Empire by Queen Elizabeth II. The film travels with Mirvish to his birthplace of Colonial Beach, Va. He shares stories about the opening of the store in staid postwar Toronto, his 35 years in show business – Mirvish purchased the Royal Alexandra Theatre in 1963 and refurbished it, revitalizing the Toronto theatre scene – and his creation of Mirvish Village as an artists’ colony.
Honest Frank is a six-minute documentary about filmmaker Danielle Heifa’s uncle, Frank Salerno, who started working at Honest Ed’s department store as a new immigrant in 1959 and retired when the store closed in 2017.
Montreal filmmakers Max Beer and Deena Dlusy-Apel have noticed that as the years pass, fewer and fewer Holocaust survivors attend Yom HaShoah commemorations.
When the children of survivors are asked to rise at commemorations, their numbers are far greater than those of their parents.
At one commemoration, Paul Herczeg, who survived Auschwitz, asked the second generation to help keep the memory of the Holocaust alive.
Beer and Dlusy-Apel responded to Herczeg’s appeal by interviewing children of survivors, the subject of their latest documentary, Will the Second Generation Please Rise: Children of Holocaust Survivors.
The filmmakers interviewed 32 children of survivors, in small groups, during six sessions. Several participants are artists or writers, and one is a filmmaker. The documentary includes visits to their studios, prose and poetry readings, and a film clip.
Members of the second generation are shown remembering their psychologically scarred parents: A father who wakes the household screaming; having nightmares about being back in the camps; and families at emotional holiday gatherings, wailing because their murdered sisters and brothers are absent.
Participants spoke about their lack of extended family – grandparents, aunts, uncles and cousins – or even photographs of family members who perished.
Ruth Dunsky said she was the envy of her friends – mostly other children of Holocaust survivors – because one of her grandmothers had survived. She remembers a lot of tension at home, and attributes some of it to the pain adults in her household were dealing with.
Some of the documentary’s participants said their parents never or rarely talked about the Holocaust, but Dunsky’s father was voluble. “My father spoke a lot about the past. He basically lived in the past,” she says in the documentary.
Zosia Romisher Rosenberg, who was born in Germany and lived there for 23 years, says her friends were other children of Holocaust survivors. Her parents forbade her from bringing home children with German surnames.
Asked to comment on their feelings about modern-day Germany, the consensus among participants seems to be that although they’re satisfied with how it has tried to come to terms with its past, they have a visceral response to the country.
Traumatized survivors sometimes asked their young children to be intermediaries to the outside world for them. Some parents dreaded answering the phone and asked their children to do it for them.
Michael Rosenberg remembers his father once wanted him to phone someone for him to relay his condolences on a death. After much persuasion, his Dad made the call, but with great reluctance, Rosenberg says in the documentary.
Will the Second Generation Please Rise includes a segment about the work of Rachel Yehuda, a professor of psychiatry and neuroscience who has studied children of Holocaust survivors. Yehuda is director of the traumatic stress studies division at the Mount Sinai School of Medicine.
The Guardian described her work as the “clearest example in humans of the transmission to a child via what is called epi-genetic inheritance – the idea that environmental influences such as stress can affect the genes of your children and possibly even your grandchildren.”
In the documentary, Sophia Wolkowicz says she believes the experiences of our parents are carried in some parts of our bodies, and we remember them in ways we’re not aware.
One of Wolkowicz’s paintings, based on her first memory, depicts a night-time forest scene. A man hides behind a tree and in the foreground there’s another man with a rifle. His stance is casual, which Wolkowicz says is a comment on the casual stance taken by people who were murdering civilians during the Holocaust.
Dlusy-Apel said that after the interviews for the film were done, it became apparent that many of the participants had addressed what had happened to their parents through their literature, artwork and filmmaking. And it seemed to be an obvious focus for the film, she added.
A sculpture in Mark Prent’s studio, “Sleep of the Phoenix,” of a decayed figure that’s half-human, half-bird, is a reference to a mythological bird that can regenerate itself, as Jews did after the Holocaust, through their children and grandchildren, Prent says in the documentary.
In her studio, Cynthia van Frank shows a mixed media creation depicting herself and family members standing, while underneath them are the bodies of Jews who perished in the Holocaust.
Will the Second Generation Please Rise includes footage from Gina Roitman’s documentary My Mother, the Nazi Midwife and Me, in which she returns to her birthplace, Pocking, Germany, the site of a displaced persons camp after the Second World War.
Roitman set out to investigate her mother’s claim that after the war, a midwife from the Pocking hospital murdered Jewish babies. She discovered her mother had told her the truth and, chillingly, was led to the graves of 52 Jewish babies.
Will the Second Generation Please Rise is a follow-up to Beer’s and Dlusy-Apel’s 2015 documentary, Nobody Was Interested, Nobody Asked, about the lack of interest in Montreal in Europe during the war years and in the Holocaust in the immediate years after.
Beer, a Montrealer who was born to Holocaust survivors in the Pocking displaced persons camp, devotes a segment in the documentary to how unwelcome survivors felt in Montreal.
“There was no talk about what was going on in Europe during the war, and I realized there was no talk after the war, when the immigrants started to come in. Nobody talked to them about what they had been through,” he said in an interview.
Dlusy-Apel’s father, who immigrated to the city in 1930, never spoke to her about the Holocaust. “They left behind brothers and sisters and didn’t talk about it,” she said.
Some 10 years after the war ended, survivors began holding Holocaust commemorations in Montreal in Yiddish, but no English speakers were involved, Beer said.
As one participant in the film put it, “No one asked us why we were mourning.”
You can watch Will the Second Generation Please Risehere. The password is Deena2.