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November 2, 2000

End in Sight

Establishment of a $4.2 million humanitarian fund to aid needy Holocaust survivors in California has been delayed by bureaucratic snafus for almost a year, but there are strong hopes that the fund will finally be operative by the end of the year.

An agreement by three Dutch insurance companies to pay out the $4.2 million was triumphantly announced by then California Insurance Commissioner Chuck Quackenbush on Nov. 30 last year, but as of now, the money is still sitting in Holland.

The reason, California officials and the insurance companies agree, is that Quackenbush never asked for the money or set up a mechanism for administering it.

Five months after Quackenbush’s November announcement, he became enmeshed in a legislative inquiry on charges that he allowed California insurers to avoid billions of dollars in fines stemming from mishandled earthquake damage claims in return for much smaller donations to nonprofit funds set up by Quackenbush.

Because of the investigation, Quackenbush said last May, he held back from setting up a fund to receive and administer the Dutch money. He resigned under a cloud shortly after the hearings ended.

However, state auditor Elaine Howle said in a report last week and in an interview Monday that there is no explanation why no effort was made to collect the money during the five months elapsing between the agreement with the Dutch companies and the start of the legislative hearings.

Howle said she has no answer to that question and neither has Steven Green, chief counsel and deputy insurance commissioner, who came on board after Quackenbush’s resignation.

However, Green said, he is working with state Attorney General Bill Lockyer to set up a foundation, outside the Insurance Department, that will meet the legal requirements for administering and distributing the Dutch money.

The fund’s board of directors “will have input” from the California Holocaust Insurance Settlement Alliance, consisting of 33 Jewish organizations and individuals and set up by Quackenbush. Its chairman is Jona Goldrich, who was not available for comment.

However, Richard Mahon, spokesman for the Alliance, said that “Holocaust survivors will have a voice in the work of the foundation, and survivors will be the beneficiaries of the money.” He estimated that the foundation would be functioning 30 to 60 days from now.

Once the foundation is established, the three Dutch companies, ING Financial Services, Fortis Inc. and AEGON Insurance Group, will transmit the $4.2 million, said their Washington, D.C., spokesman, Frank Mankiewisz. “Our concern is that the money will be administered by a legitimate California foundation, with a certain transparency and an impeccable board of directors,” he said.

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Sugihara’s Mitzvah

Diane Estelle Vicari and Robert Kirk cheered when the Japanese foreign ministry apologized to Chiune Sugihara’s family this month.

The filmmakers’ acclaimed documentary, “Sugihara: Conspiracy of Kindness,” which screens at the International Jewish Film Festival this month, helped build the international pressure that pushed Japan to posthumously acknowledge its greatest Holocaust hero.

“Sugihara” tells of the diplomat who defied his government by issuing thousands of visas to help Jews flee Kovno, Lithuania, on the cusp of the Shoah. For four harrowing weeks in summer 1941, Sugihara worked 16-hour days to complete the visas before the Russians shut down his consulate. He scribbled more on the ride to the train station while leaving the country; still more on the railroad platform while desperate Jews clung to the window of his train compartment. “He was so exhausted, like a sick person,” his widow, Yukiko, recalls in the documentary.

Because of Sugihara’s courage, more than 40,000 Jews, survivors and their descendants, are alive today. But disobeying orders cost him dearly. After the war, the “Japanese Schindler” was dismissed from government service and reduced to menial work. He spent his later years working in Moscow, where he lived alone in a squalid hotel room. “He barely smiled,” Sugihara’s grandson says in the movie.

The attention granted “Conspiracy of Kindness” is helping to right the old wrong. This year, the movie won best documentary at the Hollywood Film Festival; there was a standing ovation at a United Nations screening and Japanese leaders have expressed interest in a private screening. Just last month, the filmmakers won the prestigious International Documentary Association/Pare Lorentz Award.

Producer Vicari, 45, who took up filmmaking eight years ago, accepted her prize while recovering from pneumonia contracted while completing the documentary. “It’s been an incredibly long, difficult journey,” she says,”but also an incredible honor.”

Vicari admits she’s the last person one would expect to obsess for more than four years about a Holocaust-themed film. She grew up French-Catholic in the flat farm country outside Montreal, the daughter of a barn-and-silo painter-contractor. Not a single Jew lived in her town, she says, and not a single word was taught about the Holocaust at her Catholic school.

“There wasn’t any anti-Semitism, but there was terrible racism,” adds the producer, who defied her parents by riding her bicycle onto the Indian reservation or meeting Iroquois friends at a Dairy Queen three miles from home. When her neighbors spewed epithets about Native Americans, she knew they were lying.

That explains why Vicari was riveted when she learned about the horrors perpetrated by the Nazis. In 1994, Vicari, a fashion designer-turned-filmmaker, volunteered to work at Steven Spielberg’s Survivors of the Shoah Visual History Foundation, where she was appalled to discover she knew next to nothing about the Holocaust. She immersed herself in Shoah research, sat in on interviews and then began to interview survivor after survivor.

But the endeavor took its toll. Vicari suffered nightmares after every interview – until she chanced to learn about Chiune Sugihara.

The scene was a reception honoring the diplomat’s widow at the Museum of Tolerance in February 1995. Tiny, graceful, soft-spoken Yukiko Sugihara recalled the sad crowd outside the Kovno consulate; the Jewish women gazing at her with “great sorrow” or pleading with clasped hands.

“Previously, I had learned only about the victims and the perpetrators of the Holocaust,” Vicari says. “Learning about Sugihara was like a pearl.”

Director Kirk, who is Jewish, admits he previously turned down every Holocaust-themed project that had come his way. “I was chicken,” he says. “I thought it would be too painful. But Sugihara’s story was uplifting.”

“Conspiracy of Kindness” posits that the diplomat dared disobey his government because he was an iconoclast: He defied his father by refusing to enter medical school; he quit his post in Manchuria after witnessing Japanese atrocities there; he spoke fluent Russian and German and was, Kirk says, “an internationalist.”

Vicari, for her part, hopes to dedicate the rest of her career to subjects worthy of Sugihara. Her next film will expose neo-Nazism in the U.S. “We see the Holocaust as something outside America, but we’re wearing blinders,” she says. “We don’t realize that hatred is alive and well among us.”

“Sugihara” screens 7:30 p.m., Nov. 14, at Laemmle’s Music Hall in Beverly Hills. For information, call (818) 786-4000.

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7 Days in the Arts

4Saturday

Israel Horovitz’s dark, absurdist comedy “Line,” the longest-running play in New York’s off-off-Broadway history (25 years and counting), begins a Saturday late-night run tonight at West Coast Ensemble. The story follows five characters waiting for an unspecified event, as each connives to be first in line. $8. 11 p.m. West Coast Ensemble, 522 N. La Brea Ave., Los Angeles. For reservations, call (323) 525-0022.

Also today, though it’s not slated to open in theaters until Nov. 17, you can catch a sneak preview of the multicultural Thanksgiving film “What’s Cooking?” at the Museum of Tolerance. Tamales, spring rolls and kugel join the traditional turkey, sibling rivalry, love, prejudice and politics at the table in this film, which features Julianna Margulies in an all-star cast. $6 (general admission); $5 (members). 7:30 p.m. 9760 W. Pico Blvd., Los Angeles. For reservations or more information, call (310) 772-2452.

5Sunday

After studying dance at the Bolshoi Ballet Studio and piano at Moscow Central Musical School, Ann Krasner earned her master’s degree in computer science before moving to Los Angeles. Krasner first picked up a paintbrush in 1996 and quickly found success, with more than 400 of her paintings in museums and private collections. She was featured in last year’s “Obscurity to Freedom” exhibition at the Finegood Art Gallery, and now her work is at Los Angeles County Museum of Art through Dec. 7. Art Rental and Sales Gallery, 5905 Wilshire Blvd., Los Angeles. For more information, call (323) 857-6500.

Also today, at A Shenere Velt Gallery, the feminist art collective Mother Art presents “Domestic Stories,” a literary tea. Carolyn Allport will read from her meditation on motherhood, “Accident! A Tale of Two Sons, or How Life Imitates Defensive Driving.” Poets Julia Stein, Cherry Jean Vasconcellos and Ellyn Maybe are also featured. 2 p.m. A Shenere Velt Gallery at the Workmen’s Circle, 1525 S. Robertson Blvd., Los Angeles. For more information, call (310) 552-2007.

6Monday

Artist Marvin Saltzman’s latest solo exhibit, titled “Places,” follows his travels through Europe and America in a series of abstract paintings and drawings that project the feeling of each place. Chapel Hill, N.C.-based Saltzman, who has been exhibiting his work nationally since 1956, is widely recognized for his use of intense colors and for bringing a Southern perspective to abstract art. Through Nov. 17. Mon.-Thur., 6 a.m.-10 p.m.; Fri. 6 a.m.-6 p.m.; Sat. 1 p.m.-6 p.m.; Sun. 8 a.m.-6 p.m. Alpert JCC, 3801 E. Willow St., Long Beach. For more information, call (562) 426-7601.

7Tuesday

Cast your votes, then head off to A Shenere Velt Gallery to see the Middle East Peace Quilt. Artist Sima Elizabeth Shefrin has produced the quilt as an international community art project, with more than 200 contributors from around the world producing squares. The quilt is on exhibit through Dec. 3, when it will travel the country, growing peace by piece. Mon.-Fri., 10 a.m.-5 p.m. 1525 S. Robertson Blvd., Los Angeles. For more information, call (310) 552-2007.

8Wednesday

Composer and pianist Mario Castelnuovo-Tedesco fled the tide of Italian anti-Semitism in 1939, settling in Los Angeles with a well-established reputation as a concert performer and music critic. Working for Hollywood studios, he contributed to some 250 films, in addition to his own prolific output of operatic and orchestral work. Castelnuovo-Tedesco’s students at the Los Angeles Conservatory of Music included such aspiring composers as Henry Mancini, Jerry Goldsmith, John Williams and Andre Previn. The Instituto Italiano di Cultura presents a concert of his unpublished sonatas for violin and piano. 8 p.m. 1023 Hilgard Ave., Westwood. For more information, call (310) 443-3250.

More music tonight: For Israeli rock, it’s hard to beat the ’70s sounds of Kaveret. Also known as Poogy, the band has broken up and reunited a number of times, as members have gone on to other careers – Gigi Gov has a popular Israeli talk show, “Laila Gov,” and Meir Fenigstein will bring his Israeli Film Festival to Los Angeles for its 13th year this December. Tonight, you can catch old favorites like “Yo-Ya (Ani Sho’eh)” at the Wilshire Theatre. 8 p.m. 8440 Wilshire Blvd. For tickets or more information, call (877) 966-5566.

9Thursday

A memorial at the Museum of Tolerance on the 62nd anniversary of Kristallnacht will be followed by a screening of the Simon Wiesenthal Center’s “Genocide,” the 1981 Oscar-winning documentary. Narrated by Orson Welles and Elizabeth Taylor, the film combines history with dramatic personal stories of Nazi terror. 7 p.m. 9760 W. Pico Blvd., Los Angeles. For reservations or more information, call (310) 772-2529.

10Friday

From Lenny Bruce to Malcolm X, the social revolutionaries of the 1960s needed a good lawyer, and William Kunstler was that lawyer. After leaving his successful law practice in 1961 to defend Freedom Riders and others pro bono, Kunstler made headlines defending the Chicago Seven in a circus-like trial that resulted in his own four-year sentence for contempt of court . In “David and Goliath in America: A William Kunstler Story,” playwright Nick Zagone examines Kunstler’s motivations in taking on these high-profile campaigns for justice. $15. Fri. and Sat., 8 p.m.; Sun. 7 p.m. Through Dec. 17. The Road Theatre Company, 5108 Lankersheim Blvd., North Hollywood. For reservations, call (818) 759-3382, ext. 2.

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The Ladino Lens

Neil Sheff is candid about why he co-founded the Sephardic Educational Center’s (SEC) Los Angeles Sephardic Film Festival four years ago.

Sure, there were Jewish and Israeli film festivals in town. “But they didn’t deal with the Sephardic community or its experiences,” he says. When the existing festivals highlighted the old country experience, the emphasis was on Ashkenazi Yiddish culture. “But I don’t speak Yiddish, understand Yiddish or relate to Yiddish,” the 39-year-old attorney says. “I relate to Ladino.”

So in 1995, when Sheff, international chair of SEC’s young adult movement, received a videotape of an intriguing movie on Spanish crypto-Jews, he decided to take action. He called Sarita Hasson Fields, president of L.A. Friends of SEC, and pitched a film festival.

“The reason SEC exists is to catch up to the Ashkenazi world, to show the overall Jewish experience,” he explains. “Come to the festival and you’ll learn about the ‘other’ Jews.”

Since then, the Sephardic festival, which screens Nov. 9-16, has grown from three films and a couple hundred viewers to an international affair, with more than a thousand patrons, a filmmakers’ seminar and an awards ceremony. The eight movies and documentaries this year are Turkish, Greek, Yugoslavian, Lebanese, North African and Iraqi. “We try to highlight as wide an array of Sephardic communities as we can,” Sheff says, adding that the diverse films express Sephardic themes of migration and assimilation. Festival committee members don’t just showcase Sephardic films; they’re advocates for Sephardic filmmakers. When the producer of “The Key From Spain: The Songs and Stories of Flory Jagoda” attended a 1999 festival seminar, officials hooked her up with the Maurice Amado Foundation to obtain completion funds. (The film premieres at this year’s festival.) When the producers of “The Life of Frank Iny: A Granddaughter’s Journey,” the story of a Baghdadi philanthropist, come to town this month, Sheff will help set up interviews with L.A. Iraqis for their next film.

One sign that the festival has arrived is the opening-night screening of the French thriller “K” by popular Algerian-Jewish director Alexandre Arcady. Casbah-bred Arcady, who’ll appear in person at the festival’s opening night gala, regularly earns good box office for movies in which Sephardic protagonists struggle against racism and anti-Semitism. “K,” his latest, focuses on Sam, a Sephardic cop who has been playing chess for two decades with Joseph Katz, an antiques dealer and Holocaust survivor. Then Katz kills a man he insists was an SS officer. The antiques dealer is found dead, and Sam must travel to Berlin to learn the shattering truth about his late friend.

“I wanted to make a film about tolerance and the need for everyone to take responsibility,” Arcady has said in an interview in France, home to the third-largest Sephardic population in the world. ” ‘K’ is well in touch with what is happening today in France. You only have to watch the increasing popularity of the National Front, the negative and extremist ideas, to understand why it was necessary for me to make this film.”For information about the Sephardic Film Festival, call (310) 273-8567.

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Ground-Breaking Groundbreaking

Congregation Kol Ami, the only Reform synagogue in West Hollywood, prides itself on being an alternative to the mainstream, an inclusive, nonjudgmental place where gays, lesbians, bisexuals and heterosexuals connect to a spiritual base, where what matters most is that you want to be there. But it seems the mainstream may be closing in on Kol Ami – or the gay and lesbian religious community in general. At a groundbreaking and consecration ceremony at the site of Kol Ami’s future building, leaders of the Los Angeles and West Hollywood communities, as well as leading Los Angeles rabbis, offered support and congratulations.

County Supervisor Zev Yaroslavsky lauded the 250-member congregation, founded in 1992 with 35 members, for its courage, character and strength. Mayoral candidate and City Councilman Joel Wachs marveled at the distances crossed since he visited the first gay-focused church in Los Angeles 30 years ago, when gay Jews like himself had no spiritual home.

“We are performing the mitzvah of redevelopment,” said Kol Ami’s Rabbi Denise Eger. “We are here because of a lot of hard work and dedication by all of you, and your commitment to believe in a future for our community and our city.”

Eger saw the steady rain and gloom of the day as a sign of cleansing, of fertility and renewal. The rain did little to keep away more than 200 people who huddled under the caterer’s tent, made festive with a klezmer band and rainbow bouquets of balloons, which matched the rainbow-painted shovels used for the groundbreaking. Guests joined in the rousing “Halleluyah” and “Shehecheyanu” prayers led by the rich voice of Kol Ami’s cantor, Mark Saltzman, who is also an opera singer.

The new $13.5 million building, expected to be completed in about a year, will stand in an 11,000-square-foot lot at the corner of La Brea and Lexington. Just inside the eastern edge of the West Hollywood city limit, the property was the last available vacant lot in West Hollywood and is in a planned redevelopment area.

“We are honored to have Kol Ami in the city of West Hollywood, because I think about Kol Ami in the same way I think about West Hollywood – welcoming to all and supportive of all,” said West Hollywood Mayor Pro Tem Paul Koretz. Mayor Jeffrey Prang said he hoped Kol Ami would serve as a “spiritual anchor” as the area develops.

Rabbi Lewis Barth, dean of Hebrew Union College in Los Angeles, and Rabbi Mark Diamond, a Conservative rabbi who heads the Southern California Board of Rabbis, also offered congratulations and support.

Rabbi Alan Henkin, director of the Union of American Hebrew Congregations on the West Coast, tied the day’s events to an interpretation of the weekly portion of Beresheet. “God created beginnings,” he said, “and left the rest for humanity to complete.”

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Sophisticated Kid’s ‘Lit’

In the late 1970s and early 1980s, Art Spiegelman and Françoise Mouly created, edited and contributed to several editions of RAW, an anthology of post-modern comics (or “co-mix,” as Spiegelman insisted) that did much to reshape alternative comics. By culling work from a clique of cutting-edge New York and European cartoonists and publishing them in quality, coffee table-friendly editions, RAW put a gloss on the world of nonsuperhero comics that was previously associated with the grungy, drug-addled free associations of R. Crumb and Gilbert Shelton. RAW presented comics as high art and introduced readers to cartoonists Charles Burns and Mark Breyer, European dessinateurs such as Kamagurka and Seele, and the first installments of Spiegelman’s own chef d’oeuvre, the Holocaust opus “Maus.” The RAW anthologies not only influenced alternative cartoonists, but publishers of alternative cartoonists such as Fantagraphics and Drawn & Quarterly continue to present alternative comics with reverence in classy, lush formats. Twenty years later, Spiegelman is married to Mouly, and the two have children. So the Pulitzer Prize-winning cartoonist has recently begun directing high-brow material toward the younger set. Two years ago, the Spiegelman authored the children’s book “Open Me… I’m a Dog!,” and now he and Mouly have released a “RAW Junior Book” titled “Little Lit: Folklore & Fairy Tale Funnies.”

As an anthology of short children’s stories, “Little Lit” benefits from its pedigree of top-flight talent, drawn from the world of alternative comics and children’s books. RAW alumni Burns and Kaz have returned as contributors, and also joining the mix are premiere children’s book illustrator William Joyce (“Dinosaur Bob”) and European children’s book author Claude Ponti. Also contributing pieces are an elite assortment of young sophisticated cartoonists who have benefited from the path paved by the original RAW collections, including Daniel Clowes, Chris Ware and David Mazzucchelli.

Like most comic book anthologies, half the fun is the juxtaposition of different styles butted side by side. And like the RAW books, “Little Lit” offers a few conceptual novelties within its pages: a “Fairy Tale Road Rage” board game; a “What’s Wrong With This Picture?” centered around the Rapunzel tale. The late Walt (“Pogo”) Kelly’s “The Gingerbread Man” really sings, and Kaz’s cartoony “The Hungry Horse” is fun to look at. Mazzucchelli’s “The Fisherman and the Sea Princess” is a standout, both in illustration and in story, which, like Clowes’ “The Sleeping Beauty,” does not hinge on a happy ending. Nor should they, as the fairy tales of Brothers Grimm and Hans Christian Andersen often conveyed a darker side. Spiegelman himself opens the book with his rendition of the Chassidic parable “Prince Rooster.”

Since the book treads on the high-minded side and the dramatic stylistic change-ups might prove too visually inconsistent for younger readers, one wonders reading “Little Lit” whether the volume is sincerely aimed at children, adults, or, ultimately, the artists themselves. Nevertheless, for parents and comic book aficionados, it’s a unique project worth owning.

Art Spiegelman will appear at Storyopolis on Fri., Nov. 3, from 6-8 p.m. For more information or to make a reservation, call the children’s book store at (310) 358-2512. Also, visit www.little-lit.com.

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Fall Film Festivals

Fall is here, and with it a harvest of Jewish cinema. Two film festivals are offering sneak peeks of the best Jewish movies of the year. There’s an engaging assortment of features, documentaries, revivals and short films – some 30 in all – many of them personal stories of the Holocaust or assimilation.The Sephardic Educational Center’s Fourth Annual Los Angeles Sephardic Film Festival (see page 33) opens Nov. 9 with the West Coast premiere of “K,” the latest thriller by French-Algerian filmmaker Alexandre Arcady. A North African Jewish cop is at the center of this mystery about a Holocaust survivor who may not be who he seems.

The International Jewish Film Festival & Conference, Nov. 8-21, opens Wednesdayat the Academy of Motion Picture Arts and Sciences, where actor Gene Wilder will appear at a screening of his rabbi-in-the-Old-West saga, “The Frisco Kid.” New fare includes the antiwar story “Kippur” from controversial Israeli filmmaker Amos Gitai (story below); the Holocaust documentary “Sugihara: Conspiracy of Kindness” (see page 32); “Simon Magus,” a tale of love and demonology starring Noah Taylor of “Shine” fame; and reprises of terrific films such as Istvan Szabo’s Hungarian family saga, “Sunshine.”

For information on seminars and screenings (most are at the Laemmle Theatres), contact the Sephardic fest at (310) 273-8567 and the International Jewish Film Festival at (818) 786-4000.

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Ask Wendy

Wendy Belzberg is as comfortable swapping brisket recipes as she is discussing quantum physics. However, because of her strong Jewish background, many – but by no means all – of the questions she receives tend to have some Jewish content. Don’t expect a traditional response; she can be extremely controversial and, on more than one occasion, has had to write from a safe house to hide out from irate rabbis.

Belzberg hails from the Canadian prairies, received an Ivy League education and spent the first 20 years of her career as a television and print journalist. She has experience with parents (having had two of her own and having become one herself), siblings and husbands, marriages and divorce, serious illness and robust health. She is equally adept discussing boardroom and birthday party politics and, despite her success, still doles out free advice to the many friends who seek her counsel. She never misses an opportunity to offer an opinion, whether solicited or not. Most of her sentences begin with her signature demurral: “Nobody asked my opinion, but…” She has been giving advice since before she wore braces and is finally getting paid for it (though not enough to cover her children’s orthodonture bills). Giving advice is her destiny.

Do Unto Others

Dear Wendy:
I grew up in a very Jewish household, my views and opinions tend to reflect that upbringing, and most of my friends are Jewish. My best friend just got engaged to a non-Jew. I feel uncomfortable around her and her fiance I constantly feel as though I have to be on my guard and censor my thoughts before I speak them. I’m afraid that I might say something that he will find offensive.
Worried Friend

Do you routinely refer to gentiles as goyim? Do you refer to your friend’s fiance as a shaygetz? Have you told your friend to beware that one day, in the heat of a nasty argument, her husband is likely to call her a dirty Jew? If you said yes to any of the above questions, or even faltered for a moment before answering, a little censorship in your case may not be such a bad thing. Generally speaking.The tie between best friends often comes undone when one marries someone the other doesn’t like. If this fiance only crime, however, is that he is not Jewish, you must ask yourself if that is a good enough reason to sacrifice the friendship. That you are drawn to others with whom you share a common background is natural. But there is a difference between selection and discrimination. No one knows that better than a Jew. With your background, you are surely familiar with the saying “Do unto others as you would have done unto you.” Why not do something madcap and keep an open mind?

Best of Both Worlds

Dear Wendy:
My husband and I have hit a rough patch in our marriage, and we both agree that we need help. I suggested we go see a couples’ therapist. He insists we go talk to our rabbi instead. What would you recommend?
Confused

Congratulations. Not only have you discovered a brand new topic to fight about, you have avoided getting into counseling. Keep up the good work and you’ll be sitting on opposite sides of a lawyer’s conference table.
Couples therapy is about chemistry and qualifications, in that order. Choose someone whose style and approach you like, or it will be difficult to do the work. Accommodate each other by interviewing both the rabbi and the therapist. Rabbis are underconsulted; they have expert skills beyond their ability to manage capital campaigns. Consider the rabbi’s qualifications, his ability to make a long-term commitment (are sessions bumped for funerals, brises and community emergencies?) and his past success rates. Then go into therapy with a couples’ therapist. Would you go to a general practitioner if you were diagnosed with breast cancer? Therapists are specifically trained to treat couples in crisis. Your marriage is in trouble. Don’t take any chances; seek help from the very best. (The queen of England didn’t take chances when it came to Charles’ circumcision. She hired a mohel.)

Religious POW

Dear Wendy:
My ex-wife was not Jewish but we agreed to raise our daughter as a Jew, and she was converted at birth. Now that we are divorced, my ex has informed me that she is planning on baptizing my daughter and “reconverting” her to Catholicism. Can she do this?
Concerned Father

If your daughter was converted according to Jewish law and dipped in the mikvah at birth, she is Jewish and nothing your ex-wife can do will undo that. Even if your daughter grows up to be a nun, she will be a Jewish nun (and not the first, I might add).

You are way off base, however, if your only question after hearing of your ex-wife’s intentions is whether your daughter is still Jewish. Your daughter sounds like she is a prisoner of war. Religion is not the first thing that would come to my mind in a hostage situation. Your daughter needs unconditional love, support and reassurance through what is clearly a bitter divorce. Spend more time thinking about your daughter’s needs and emotions and less about your own.

Wendy Belzberg is a nationally syndicated advice columnist. Write to “Ask Wendy” at askwendy@jewishjournal.com or at 954 Lexington Ave., ‘189, New York, NY.10021

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Reflections of War

As violence continued to flare in Israel, director Amos Gitai remembered a day when he stood in a downpour on the Golan Heights and recreated the bloodiest battle of the Yom Kippur War. Bundled in a thick coat, his woolen cap pulled low, his shoes caked with dirt, Israel’s most controversial filmmaker barked orders into a megaphone as the old Centurion army tanks belched smoke and cut ugly swaths in the mud. Extras screamed, armored vehicles lurched, faux-amputees writhed.

For the internationally acclaimed writer-director, the din and the chaos elicited an unpleasant sense of deja vu. “Kippur,” the first Israeli movie to grace the New York Film Festival, tackles the traumatic war that was previously taboo in Israeli cinema. It also revisits the horrific week in October 1973 that psychologically scarred Gitai and turned him into a filmmaker. “I’ve never gotten over it,” the former paratrooper concedes. “I don’t think it’s possible to make closure of such an experience.”

Like “Kippur’s” protagonist, Weinraub, Gitai was a 22-year-old college student when the sirens announced the surprise attack by Arab nations on Yom Kippur 1973. With an army buddy, he jumped into an old Fiat and raced toward the front, trying in vain to catch up with his unit. Almost by accident, he hooked up with a helicopter search-and-rescue team that flew into enemy territory to evacuate the wounded. Gitai captured the grisly chaos on a new Super-8 camera, his very first, an early birthday present his mother had given him days before.

“It was a big shock for me; the wounded and the people burning inside tanks,” he told The Journal. “My camera was a way for me to synthesize what I was seeing.”

His war lasted five days. On Oct. 11, Gitai’s 23rd birthday, missile and machine gun fire pierced the helicopter and sent the vehicle crashing to the ground. The engineer’s head was impaled upon the engine, the co-pilot was also killed and a soldier ran from the cockpit on the stumps that remained of his legs. Blood poured from a hole in Gitai’s back where a bullet had lodged just a millimeter from his spine.

The violent incident changed the course of his life. Gitai, the son of a Bauhaus architect and German refugee, eventually abandoned his architecture studies to become a filmmaker – a better way to “touch nerves and apprehend society,” he says. After his first three documentaries were censored by Israeli television for criticizing the government and the military (“House,” for example, focused on Arab flight from Israel in 1948), he lived for seven years in self-imposed exile in Paris.

Not once did he consider making a movie on the Yom Kippur War. “I had nightmares,” admits Gitai, now 50. “I wasn’t ready to make a film about my experience.” The change came in 1993, when the homesick director moved back to Israel to find Yitzhak Rabin negotiating peace. The time seemed right for Gitai’s kind of war movie: “I had seen a lot of films that aestheticized war, but I didn’t want pretty explosions,” he says. “I wanted to convey the exhaustion.”

“We evoke heroism a lot during a war,” he told Cahiers du Cinema, “but the profound sentiment that dominates is fatigue… I think that one day, problems in the Middle East will resolve precisely because of this fatigue.”

Director Sam Fuller (“Steel Helmet”) used to say that if you want to make a war movie, you have to prepare yourself for war. Gitai took the advice as he battled to bring his script to the screen. First there were the officials of Israel’s Quality Film Encouragement Fund, who had refused to finance his provocative movie, “Kadosh,” about the oppression of women in ultra-Orthodox Mea Shearim. The same officials promptly rejected “Kippur,” citing problems with the script.

Then there was the army’s aviation chief, who was suspicious of Gitai and didn’t want to lend him any equipment until he learned the director was a veteran.

Finally, the cameras rolled last winter; recreating the war at the very moment of unprecedented peace talks between Israel and Syria felt historic for the cast and crew. But the talks have since disintegrated, and violence sweeps the country. Gitai, at least, hopes “Kippur” will serve as a caveat for both Arabs and Jews. “They will see what is the price of war,” he says. “They will see the enormous waste of life and resources.”Israelis, so far, have been enthusiastic about the film, but the most important screening for Gitai was the first, a small showing for the survivors of that long-ago helicopter crash. “I was nervous,” he recalls. But after the screening, the helicopter’s pilot, who had saved the others by manually steering to a crash-landing, approached Gitai with wet eyes. “In the manner of pilots, who don’t speak much, he said, ‘You told the truth,'” the director recalls. “That, for me, was the highest praise.”

“Kippur” screens at 8 p.m. Nov. 11 at Laemmle’s Music Hall in Beverly Hills and 8 p.m. Nov. 19 at Laemmle’s Town Center 5 in Encino. The theatrical run begins Nov. 22 at the Town Center 5 and Laemmle’s Monica in Santa Monica.

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Why Moshie Can’t Read

Imagine the possibility of having restricted access to your own religion and culture without even realizing it, whether you attend synagogue and study sessions faithfully or not. Such a phenomenon actually exists, and it’s doing its disturbing work in our own Jewish community. I am referring to the inability to read and interpret the Hebrew language – the original mode of communication of the Torah, rabbis, biblical scholars and personas, and thousands of years of Judaism. I call this disability Hebrew/Jewish illiteracy.

The term illiteracy most often conjures up those stereotypical images of people far outside the walls of our own community. Prima facie, no one would associate this handicap with the People of the Book. Yet it is a fact that most Jewish Americans do not possess the bilingual skills necessary in which to truly live up to their name. Yes, being a fully expressed Jew actually does have something to do with the Hebrew language. Generally speaking, Jewish Americans, due to a language barrier, are incapable of fully connecting with the bread and butter of their faith – biblical and rabbinic texts. These repositories of our collective ancient wisdom and spirituality remain, for most, largely unapproachable, and yet they form the basis of what it means to be Jewish. And whereas the concept of Jewish literacy means much more than just reading and writing in a particular language, on the most fundamental level it certainly must start there.

You can’t just take somebody else’s word for what thousands of years of Judaism have to say. The availability of the many excellent English translations of classical Jewish writings simply does not do the job. First of all, for every English language Torah book, there remain thousands still available only in the original Hebrew. Buyer demand has created a steady supply of English Bibles, prayer books, Talmuds, philosophical guides, Rashis, etc. But try getting your hands on a sufficient number of the layers upon layers of classical commentaries in English that make the aforementioned works user-friendly and truly accessible. Commentaries, whose job is to elucidate, create access to the primary evidence they are interpreting. Lose the commentaries, and you lose real touch with the source material. Certainly, there are numerous modern scholars who offer valuable thoughts in English on the Bible, liturgy and Jewish law. But no collection of modern theories and formulas can take the place of centuries of Jewish thought and scholarship. At the current pace, we might never see the finish of the massive job of translating the necessary books of ages past.

Moreover, English translations are often, though not always, misleading, emphasizing a conceptual understanding rather than a literal one. The final product ends up being a processed explanation rather than a true and careful translation, so you end up studying the translator and not the original author. In addition, even if a given translation is extremely precise, each Hebrew word can mean different things to the various classical scholars. Since it is rare to find a complete consensus, a typical English Bible, let us say, will have to resort to something like offering one scholar’s view in its translation of one word and another sage’s opinion for a different term. Technically, such renditions, when viewed as a whole, do not satisfy any one opinion of those original biblical exegetes; instead they are a hodgepodge of them all. Only upon learning the Hebrew language can we effectively sift through all the evidence and see how Rabbi Eliyahu Mizrachi, Rabbi David Kimchi, and the Maharal of Prague would each independently translate that same Bible.Finally, only a small percentage of the English-language Jewish books in publication today are dedicated to the task of translation at all. New-age authors have their own valuable ideas to communicate. Yet, somehow, year after year, Rabbi Jacob ben Asher’s 14th century magnum opus – the Tur, a compendium of Jewish law and the actual precursor to the monumental Shulchan Aruch – remains a mystery for the masses due to an ever-present language barrier.

The problem of Hebrew/Jewish illiteracy is by no means new, but it is particularly virulent in its modern form due to the dynamics of today’s Jewish landscape. The incredible availability of certain excellent Jewish works in English is really both a blessing and a curse in its propensity to solve one problem and exacerbate another. Fifty years ago, most of these books weren’t even available in English. Now we have little incentive to actually master the fundamentals of the Hebrew language. We are undoubtedly the first generation in history to produce individuals who have studied the entire Talmud and who cannot translate a single word of it. Today’s synagogues and Jewish institutions largely add to the problem by simply not acknowledging it – most rabbis, from Orthodox to Reform, give sound-bite oriented lectures, which demand zero textual skills on the part of their audiences. Jewish organizations continue to boast of their large constituencies who remain virtual outsiders when faced with the basic task of praying in Hebrew. (I make no attempt to use this phenomenon to measure anyone’s spirituality; I am addressing our potential for complete Jewish literacy.) And so it continues to be a world of haves and have-nots: Jewish children quickly surpass their own parents’ Hebrew ability, and Jewish adults continue to stare at the letters of the alef-bet as if it were hieroglyphics.

There is a viable solution. We need to adopt a more proactive attitude by demanding more opportunities for Hebrew language empowerment. We need to study Judaism more efficiently and learn how to learn. We, instead of the teacher, must be seated in the driver’s seat with an open book in front of us armed with the mission of improving our textual skills. For some, the answer may be as simple as signing up for an ulpan or a Hebrew grammar course; others may prefer the time-proven method of poring over the material with an advanced study partner (chavruta). All of this may seem hard at first, but as with any other skill, the reward is commensurate with the effort; the Talmudic giant Rabbi Akiba began his Hebrew linguistic adventure at age 40. I truly believe that Mark Twain’s words put many of these issues in proper perspective: “Don’t explain your author; read him right, and he explains himself.”

Free Hebrew Courses

North Valley JCC, the Jewish Home for the Aging, Westwood Kehilla and Jewish Learning Exchange are just a few of the Southland locations that will host a free Hebrew class during November for the Third Annual Read Hebrew America, a program organized by the National Jewish Outreach Program (NJOP).The classes, designed for Jews with little or no background in Hebrew, will concentrate on the Hebrew alphabet and basic reading skills. A level-two program will be available for those interested in advancing their Hebrew reading and comprehension skills.

NJOP’s primer, “Hebrew Reading Crash Courses,” will be available in English, Russian and Spanish, and a French version will be published next year. As a bonus, students who complete this year’s course will receive a mezuzah designed by world-renowned artist Yaacov Agam.

NJOP, which also spearheads Shabbat Across America, estimates that more than 15,000 unaffiliated and marginally affiliated Jews will participate in this year’s classes nationwide. Since 1987, NJOP has taught more than 215,000 North American Jews to read Hebrew.

To find the location and date of the class nearest you, visit the NJOP Web site at www.njop.org or call (800) 44-HEBREW. – Staff Report

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