Amblin Entertainment announces their film, The Kidnapping of Edgardo Mortara, in the Hollywood Reporter, May, 2016.  Image credit: Amblin Entertainment
Amblin Entertainment announces their film, The Kidnapping of Edgardo Mortara, in the Hollywood Reporter, May, 2016.  Image credit: Amblin Entertainment

In 2016 Steven Spielberg announced his intention to make a film based on David Kertzer’s book, The Kidnapping of Edgardo Mortara, with a screenplay by Tony Kushner.  Initially planned to be shot the following year, the project, after much development, including a complete screenplay by Kushner, has been delayed.  As soon as further news is available on the film project, it will be available here.

Efforts are also underway to produce a series of documentaries based on two of Kertzer’s more recent books: The Pope and Mussolini and The Pope at War.  When more information is available, it too will be available here.

The book was first optioned to other filmmakers right after it came out in 1997. There is a long saga here, but the film did not get made. At the end of 2007, when Tony Kushner was working with Steven Spielberg on “Lincoln,” Tony gave Spielberg a copy of of my book, telling him he would enjoy it. A few weeks later, Spielberg called me and we spent an hour on the phone. He told me he was eager to make the book into a film, and soon thereafter decided to ask Tony Kushner, whom I have known for 20 years or so, to write the screenplay. I, of course, was thrilled.

Well, I did title one chapter “A Servant's Sex Life!” But my concern was to write a book based on original archival research that would attract a broad audience. The historical episode was hugely important, but largely forgotten. That said, I did have in the back of my mind that the book could make a great film if done by the right person. I don’t think, though, that this affected my writing. But attracting a broad audience to a book of history means writing in such a way as to make the story vivid, to bring the characters and the scenes to life. In a sense, this is not different from writing that lends itself to film.

When different filmmakers have contacted me over the years, this has been an important consideration in deciding about with whom I might entrust a film based on my book. We have all heard horror stories. One reason I am so happy about the Spielberg film is my great faith in both Spielberg and Tony Kushner. I have had many long conversations with Tony and know how committed he is to making sense of the historic context, giving a sense of the historical importance of the events, and getting the history right. 

Although nothing is yet finalized, I believe I will continue to serve as the historical consultant.

Few people realize that the Inquisition was still operating through the 19th century, and that where the pope had police powers, as he did in the Papal States, Jewish children were still being regularly seized by the church from their parents in cases of forced baptism of the sort my book recounts.  

For centuries in Italy, small Jewish children were regularly taken from their parents based on claims of secret baptism by Christians, and outside of the Jewish community, no one seemed to care. In the Papal States, the Jews had no civil rights, and of course there was no freedom of the press. But in 1848 the Jews of northwestern Italy — the Savoyard kingdom — were liberated and began to have their own press. By this time, too, the Jews in France and Britain had been given equal rights and had their own press. The battle for unification had also begun with a revolt against the pope in 1848, and it had as its watchword the need to separate church and state. The result was that not only was the world’s Jewish community able to organize on behalf of the Mortaras, but the major figures involved in Italian unification, such as Count Cavour and the Emperor Napoleon III, became involved.

It seems that thousands of stories characterize my book, on which the film is based, as a novel. I had always wanted to be a novelist, so this has been perversely gratifying, especially since papers such as "Le Figaro" in France and "The Independent" in Britain credit my “novel” with having been awarded a Pulitzer Prize. In short, overnight I became not only a novelist, but a Pulitzer Prize-winning novelist.