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October 14, 2014

The Israel Film Festival reveals the heart of Israel to L.A.

The Israel Film Festival (IFF) will bring the real heartbeat of the Jewish state — often smothered under bellicose headlines — to Los Angeles through 28 feature and documentary films. The festival screens Oct. 23 through Nov. 6 at five different venues.

Kicking off the series is the opening-night presentation at the Saban Theatre in Beverly Hills of the haunting film “Next to Her,” whose co-star, Dana Ivgy, will be honored alongside producers Arnon Milchan (“Gone Girl”) and Mace Neufeld (“The Equalizer”).

Ivgy and the film’s producer, Estee Yacov-Mecklberg, will be on hand for a Q-and-A session, as part of the largest contingent of Israeli filmmakers and actors to participate in any IFF in its 28-year history.

Another special event will be the U.S. premiere of “The Go-Go Boys: The Inside Story of Cannon Films,” a documentary on Israeli producers Menahem Golan and Yoram Globus.

The two cousins, particularly the flamboyant Golan, cut quite a wide swath through Hollywood in the 1980s before returning to Israel. The evening event at the Writers Guild Theatre in Beverly Hills will feature a panel discussion on the life and times of Golan, who died in August of this year.

Many of the scheduled films will have their world, U.S., West Coast or Los Angeles premieres at the festival.

“Israeli cinema in on a roll,” noted Meir Fenigstein, the IFF’s founder and executive director. “The creativity, passion and depth that Israeli filmmakers are bringing to their projects have been truly amazing.”

The festival’s curtain raiser, “Next to Her,” is the emotionally intense story of Chelli, played by Liron Ben-Shlush, who also wrote the screenplay.

Chelli’s all-consuming preoccupation is to care for Gabby, her three-years-younger sister, who is mentally handicapped.

As anyone who has been in such a relationship with a family member knows, over time the experience can be immensely fulfilling and frustrating, rewarding and draining.

The two sisters play, watch television and sleep together, and Chelli sees to Gabby’s bodily needs and habits, from showering to keeping her from masturbating. When Chelli goes to work, she leaves Gabby at home, but is constantly listening for the ring of her cell phone, anticipating that Gabby is in some kind of trouble.

Into this claustrophobic world enters Zohar (Yaacov Daniel), a new substitute gym teacher at Chelli’s school. Socially inept, Zohar lives with his mother (Varda Ben Hur), whose all-enveloping “Yiddishe Mama” shtick makes for one of the film’s rare laughs.

Zohar and Chelli, two emotionally and sexually needy people, fall instantly in love, and, with Chelli taking the lead, engage in some lovemaking that is intense even by Hollywood standards.

Soon Zohar moves in with Chelli and Gabby, and the members of the ménage à trois adjust their lifestyles and emotions as best they can.

Zohar is kind-hearted, more grounded and certainly a neater housekeeper than his two female roommates. In the meantime, Gabby finds unexpected friendship in a daytime halfway house, to the barely hidden resentment of her veteran caretaker, Chelli.

As the plot appears to meander toward a happy ending, the principals face a new, life-changing crisis.

Director Asaf Korman, also Ben-Shlush’s husband in Tel Aviv’s tightly knit movie colony, draws remarkable performances from all of the members of his small cast, but Ivgy’s portrayal of the young handicapped sister will haunt viewers for a long time. Indeed, many critics have found it hard to believe that Ivgy was acting the role.

This year, the Israel Academy of Film bestowed an Ophir (Oscar’s Jewish cousin) on Ivgy as best supporting actress for her performance as Gabby.

On top of that, the 32-year old thespian won the best actress Ophir at the same award ceremony for playing a trouble-making Israeli soldier in “Zero Motivation,” which will be shown at the festival on Oct. 26 at the Laemmle Music Hall.

In a phone call from New York, Ivgy detailed the intensity and fear with which she approached the role of Gabby. One factor was that in writing the script for the film, Ben-Shlush drew on the relationship with her own, mentally handicapped sister.

“Liron (Ben-Shlush) is a very close friend, and I knew her sister, so when I took the role of Gabby I was so afraid that I would get it wrong, that I wouldn’t do justice to the part,” Ivgy said.

“I started reading about mental retardation, about the brain and medication,” she said. “Then I went to the institution where Liron’s sister was living. That was pretty intimidating at first, and the fact is that you rarely show this level of disability in a movie.”

Besides coping with the mental and emotional challenges of the role, Ivgy was in the second and third months of her pregnancy during the shooting of the film.

“I didn’t tell anyone about it,” she said, “but I tried to avoid acting in the mornings, when I often felt pretty sick.”

Ivgy had no difficulty transitioning into her role in “Next to Her” immediately after wrapping up “Zero Motivation,” in which, she said, “I play a crazy, bitchy girl soldier. I love to do different things — that’s why I am an actress.”

Another reason for her career choice is probably genetic, since she is the daughter of one of Israel’s best-loved actors, Moshe Ivgy, and his actress wife, Irit Sheleg.

As a matter of fact, “I was on stage before I was even born,” Dana Ivgy declared. “My mother was acting in a play while she was pregnant with me.”

Before heading to Los Angeles for the opening of the IFF, Ivgy is performing with an ensemble of eight fellow Israelis in the off-Broadway production of “Odd Birdz,” consisting of some 20 short comedy sketches.

The group, named Tziporela, was formed 12 years ago by its nine young founders, who were classmates in an Israeli drama school; they have performed in English all over the world, to enthusiastic applause.

Nowadays, wherever Ivgy goes, so goes her now nine-month-old son Michael. “I couldn’t live a day without him,” the doting mother said.

Among other attractions on the IFF schedule is “Life as a Rumor,” a documentary celebrating the life of the late Assi Dayan, one of Israel’s foremost film directors and actors, and son of Gen. Moshe Dayan.

“The Story of Poogy” delves into the life of IFF founder Meir Fenigstein, known in earlier days as the drummer “Poogy” in the Israeli rock band Kaveret. In the short documentary, he is contacted by an 18-year-old daughter he didn’t know he had.

“Above and Beyond” documents the deeds of a group of ex-World War II pilots, mainly from English-speaking countries, who fought as volunteers for the newly born State of Israel in 1948. Roberta Grossman directed the film and Nancy Spielberg produced.

For more information on the IFF, visit  The Israel Film Festival reveals the heart of Israel to L.A. Read More »

Max Webb, one second at a time

It’s hard to imagine how, or why, a wealthy 97-year-old man would make the effort to go through hundreds of invoices for his building company and sign all the checks himself. It’s even harder to imagine him catching mistakes and telling his bookkeeper things like, “I think this one is no good. I already signed it last week.” But that’s exactly the kind of thing you hear about my friend Max Webb.

“I remember everything,” he told me when I visited him last week in his spacious mid-Wilshire office. That office alone is worthy of charging admission — it holds more classic photos, personal mementos and Jewish memorabilia per square foot than a Jewish museum. It’s as if some sentimental designer came in one day and said, “Max, I’m going to put your whole life in this office!”

I’ve been bumping into Max for years now at events all over town. Max has the weathered, complex face of someone who’s seen it all, and the sharp eyes of someone who still wants to see more. He’s a short man, but his straight posture ought to be the envy of many kids I know who crouch when they walk.

As he talked with me about his life journey, he kept saying that it’s “impossible to explain my life.” In other words, he remembers a lot of things, but that doesn’t mean he can, or wants to, explain them.

After all, how do you begin to explain the pain of losing four beloved sisters and both of your parents in the Holocaust? And how do you begin to explain the mere accomplishment of surviving 12 labor camps and six concentration camps?

The stories he told me did suggest some explanations for his unlikely survival. For one thing, he was always a hustler. He grew up in a poor family in Lodz, Poland, quitting school when he was young and then taking odd jobs and making all kinds of deals on the street to help bring food to his family.

These hustling skills came in handy after the Nazis caught up with him and sent him to a series of camps, including Auschwitz-Birkenau. The fact that Max was physically strong helped keep him out of the gas chambers, as the Nazis preferred to use him for hard labor. But beyond his physical fitness, Max survived on the strength of his wits, hustling for a piece of bread with the same moxie he would use decades later to develop property in Los Angeles.

In one camp, he figured out a way to retrieve gold and jewelry from the abandoned clothing of those killed in gas chambers, after the Nazis would put away the clothing in a special area. He then made deals with guards, exchanging the jewelry for things like potatoes and bread that he would share with his best friend.

That best friend was Nathan Shapell, the well-known philanthropist who died seven years ago and was Max’s lifelong business partner. “Nate was in block 12 and I was in block 7,” Max said. “If I got a piece of bread, I would find him and give him half.”

When I asked him if he lived in fear during his years in the camps, he gave me a blank look, as if not wanting to show any weakness. “Never,” he replied. What he did say is that he “lived by seconds,” which perhaps was his way of impressing on me that because he could have died any second, he had little time for fear.

While looking at my notes after our visit, I noticed that Max had a tendency to use extreme words — “everything,” “impossible,” “never,” “seconds” and so on. It’s not surprising, then, that he made a bold promise to his mother the last time he saw her. After telling her about the horror of seeing Nazis throw Jewish babies out of hospital windows, he made this commitment: “If I survive this, I will do everything I can to make sure Judaism also survives.”

For the past six decades or so, Max has done just that, donating millions to all kinds of causes to help the Jewish Diaspora and Israel. His latest gift is to create a chair for his rabbi, David Wolpe, whose title will now be “The Max Webb Senior Rabbi of Sinai Temple.” 

When Rabbi Wolpe mentioned the gift during his Yom Kippur sermon, he brought up Max’s promise to his mother, adding that, for Max, the notion that Judaism might not survive the Holocaust was a very real possibility.

I’m guessing, though, that even an extreme notion like “the fear that Judaism might not survive” is hardly intimidating to a man like Max, who’s learned during his long and eventful life that the best way to survive is one second at a time.


David Suissa is president of TRIBE Media Corp./Jewish Journal and can be reached at davids@jewishjournal.com.

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Poem: Sigh in Silence

Ezekiel 24;17

said the Lord, this sigh indiscernible,

although the si- contained is louder than

the second fiddle, second syllable

that ebbs into its chopped-off sibilance.

The first one lasts awhile, the way we wish

that pleasure would endure, the vowel long,

it’s hard to leave the bed its made, mouth wide

until the utterance has disappeared

but leave we do — what choice? — arriving late

to consonantal noise, and then its absence

(second act the same, the first a quicker

drama). Good thing there’s a word good enough

to capture what we hear and don’t, or else

the music might go on, or else silence would.


Published in Image, September 2012

Patty Seyburn’s fourth collection of poems, “Perfecta,” was released this month by What Books Press. She is an associate professor at California State University, Long Beach. 

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Congressional and Senate candidates debate at University Synagogue

University Synagogue was the host Oct. 12 for debates in two races for the Nov. 4 election — one between Elan Carr and Ted Lieu, running for the 33rd Congressional District seat, and another between Sandra Fluke and Ben Allen, who are vying for the California 26th state Senate seat. In addition, representing one side of the race for Los Angeles County’s 3rd District supervisor, candidate Bobby Shriver delivered remarks, while his opponent, Sheila Kuehl, appeared via a pre-recorded video message. 

The triple-header featured the candidates discussing a range of issues both national and local, from Israel’s national security to Los Angeles’ transportation system, as well as reforming the United States immigration system and ensuring there is no asbestos in Santa Monica and Malibu schools.

Mirror Media Group, whose holdings include the Santa Monica Mirror, Brentwood News and Century City News, sponsored the event, which drew upward of 200 people. 

The winners of at least two of the races will have big Jewish shoes to fill. Carr and Lieu are vying to succeed Rep. Henry Waxman, who has served 40 years in the seat, while Shriver and Kuehl are squaring off to succeed Supervisor Zev Yaroslavsky, who is currently in his fifth term, the maximum allowed. 

The debate between Carr and Lieu kicked off the afternoon, Brentwood News Editor Jeff Hall serving as moderator. The candidates discussed national security, immigration, education, employment and a range of other issues, seeking to distinguish themselves from one another.

The candidates belong to opposing parties — Carr, who is Jewish, is a Republican; and Lieu (who is not Jewish) is a Democrat — but, last week, the two men’s remarks underscored what they have in common: Both are pro-Israel and both are frustrated by the partisan politics in the House of Representatives, among other grievances. 

Carr has family ties to Israel. He also served in Iraq in 2003 as a member of the U.S. military. He said he would be more than a “reliable vote” in Congress on Israel issues: “When I see the exposure to danger that Israel is facing today … it terrifies me,” Carr said. He described himself as someone who has background experience with Israel and is familiar with threats facing the country today. 

Lieu promised to fight against “existential” threats to Israel and the United States. He set himself apart from Carr’s pro-military credentials by saying he is “skeptical of American military intervention,” adding that the situation in Libya today is more precarious than it was prior to the deployment of troops there by the United States and its allies following the Arab Spring uprisings. He also cited how American intervention in Iraq under the George W. Bush administration has left the country worse off than it was before. 

During the Q-and-A portion, an audience member question about the legalization of marijuana spotlighted another difference between the two congressional candidates. 

Carr said he would “absolutely not” decriminalize marijuana if he we were to be elected, stating that marijuana facilities around Los Angeles are a “source of crime,” citing his work as a criminal gang prosecutor on such cases. 

Lieu won applause from the crowd when he said the opposite.

“I think it’s profoundly stupid that the U.S. government criminalizes marijuana,” Lieu told the audience. He pledged that as a member of Congress he would vote to decriminalize marijuana.

Harriet Epstein, a University Synagogue member and one of the event’s attendees, said afterward that she approved of Carr’s remarks on Israel. “It would be nice to [elect] someone who is a Jewish Republican, even though I’m a Democrat,” she said in an interview. 

Epstein also revealed her voting plans for the Shriver-Kuehl race. 

“I don’t always agree with him, but he has his head on straight,” Epstein said of Shriver. She also voiced approval of Allen, citing his credentials as a local who has done well. 

Allen, 36, a Santa Monica-Malibu Unified School District board member, grew up in Santa Monica and attended Santa Monica High School. Allen’s mother is Jewish.

He faces, Fluke, 31, a graduate of the Georgetown University Law Center, who became nationally known in 2012 when she was harshly criticized by Conservative talk-radio host Rush Limbaugh after she testified before Congress, then a law student, on issues related to women’s reproductive health care.

This past summer, Allen and Fluke were the two youngest candidates in the crowded primary election for the 26th state Senate seat.

On Sunday, Allen and Fluke, both progressive Democrats, touted their interest in improving California’s education system. Fluke expressed hopes in making higher education more affordable, while Allen said he would promote, if elected, statewide investment in early-childhood education. 

Allen also called himself a champion for the preservation of the Santa Monica Mountains and said he would like to see the state help to fund the Los Angeles metro rail, while Fluke said her No. 1 issue is campaign finance reform.

County Supervisor candidate Shriver’s remarks, like some of Allen’s, focused on Los Angeles transportation, among other local county issues. 

“How many people would like a train that goes to the airport? You all need to vote for me,” the son of Eunice Kennedy Shriver and nephew of John F. Kennedy said in a stump speech, which followed Kuehl’s video message.

Shriver, who previously served on the Santa Monica City Council and as mayor of Santa Monica, heaped praise on the Metro Expo Line, which is headed to his city and now extends from downtown Los Angeles to Culver City. He also discussed the importance of county oversight over arts venues such as the Ford Theatres. The county recently announced a $54 million budget increase to arts and culture funding for the current year, and Shriver has made advocacy for the arts part of his political platform.

In her video message, Kuehl talked about her experience as a state legislator, indicating that it will be “directly relevant to what the County of Los Angeles does and, more importantly, what it is required to do for all of its 10 million residents”

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L.A.’s Iranian Jews must launch new Iran advocacy campaign

Earlier this year, I had the opportunity to speak to a Southern California Christian group about the significant human rights violations that the Iranian regime has waged against the Christians, Jews and other religious minorities living in Iran today. While this congregation was sympathetic and very receptive to my brief discussion, they were completely in the dark regarding the plight of minorities, women, journalists and even average Muslim-Iranians facing tremendous hardships at the hands of Iran’s mullahs. 

Likewise, many average non-Jewish groups I have come across have by and large been totally unaware of the substantial role Iran has played in arming, funding and fanning the fires of terrorism perpetrated by Hamas in Gaza and Hezbollah in Lebanon against Israel. Today the majority of Iranian Jews living in America very clearly see Iran’s significant role in destabilizing the entire Middle East, funding and arming terrorist groups, as well as calling for another Holocaust against Jews with their daily chants of “Death to Israel.” We as Iranian Jews not only understand the Farsi language declarations of genocide repeated by Iran’s ayatollahs, but the majority of us have experienced the evils of the Iranian regime firsthand. 

Nevertheless, the Iranian-Jewish community in Los Angeles has never undertaken its own serious, comprehensive and relentless public advocacy campaign to educate the larger non-Iranian American community about the very real and emerging dangers of Iran’s fundamentalist Islamic regime to the Middle East and the entire world. This education of the greater public about who the Iranian regime consists of and its objectives is essential in transforming the U.S. government’s approach to Iran’s threats against non-Shiite Muslims throughout the world. In my humble opinion, now is the time for L.A.’s Iranian Jews to stand up and undertake such a critical grassroots advocacy campaign to educate every other community in America about the rising threat of Iran’s regime.

For more than 30 years, I have witnessed my community of Iranian Jews in Southern California growing and prospering after establishing new roots here. They have flourished in America and also generously given back to the larger Jewish and non-Jewish communities. Iranian Jews in Los Angeles have even established their own nonprofit groups, such as the Iranian American Jewish Federation, Magbit, the Hope Foundation and 30 Years After, to advance our community issues and to help Israel. While Iranian-American Jews have also been involved with other organizations such as the American Israel Public Affairs Committee and the American Jewish Committee about raising public awareness of Iran’s nuclear threat, they have never launched their own initiative to educate the Latino, African-American, Asian, labor union, LGBTQ and other communities about the horrific human-rights abuses and spread of global terrorism carried out by Iran’s clerics and the Iranian Revolutionary Guard Corps (IRGC). So who better than Iranian Jews, who experienced firsthand anti-Semitism, random arrests, unceasing tortures and imprisonments at the hands of this Iranian regime, to speak out today about the evil nature of the regime? Who else but Iranian Jews, who have had family members randomly executed by the Iranian regime, to educate the public about the regime’s unmerciful thugs? Who else but Iranian Jews, who have witnessed their Christian, Baha’i, Zoroastrian, Sunni and other religious minority countrymen experience unspeakable abuse and murders at the hands of the Iranian regime’s secret police, to speak out? Who better than Iranian Jews to educate the larger American public about how Iran’s Supreme Leader Ali Khamenei and other regime strongmen are very openly calling for the elimination of all people who do not follow their radical form of Shia Islam? While in recent years, individual Jewish-Iranian activists in Los Angeles have indeed spoken out about the cancerous spread of the Iranian regime’s evil among its own people in Iran and the entire Middle East, much more of this type of public advocacy must be done on a larger scale by local Iranian Jews. Additionally, while the new Iranian president, Hassan Rouhani, has attempted to put on a happy and nicer face for the Iranian regime with his public relations campaigns, we as Iranian Jews have a duty to remove the smiling mask from Rouhani and his minions in order to expose their true nature and evil actions to the American public.

More importantly, as Israel wages a war to defend innocent civilians from the terrorism of Hamas, Iranian Jews, who listen to Farsi language news broadcasts from Iranian state-run media, must make all Americans aware of what the regime’s leaders are saying about their role in perpetuating the Israeli-Palestinian conflict. For example, this past July, on Iranian-state run television, Khamenei called for all those who “love Palestine” to send arms to the West Bank and turn it into another Gaza. He also issued a religious edict for the IRGC and its subordinate Basij militia to send arms and fighters to the area. Likewise in July, the Iranian Islamic Assembly spokesman boasted on state-run television about the Iranian regime’s role in providing Hamas with rocket technology. The chairman of the Parliament of Iran, Ali Larijani, has repeatedly said on Iranian state-run news programs that Iran originally provided Hamas with the know-how to produce its own homemade rockets. Mohsen Rezai, the secretary of the Iranian regime’s Expediency Discernment Council, a high official in the regime, has recently called for more kidnappings of hundreds of Israelis and making them human shields in Gaza. Rezai has promised more arms and more financial support to Hamas until “all of Palestine is free of the Jews.” This information is very rarely reported by Western news media for whatever reason, but we as Iranian Jews have a duty to name and shame every single member of the Iranian regime who is calling for a perpetuation of the Israeli-Palestinian conflict and glorifying the genocide of Jews in Israel. 

So as Iranian Jews, we must venture out of our enclaves in Beverly Hills, Pico-Robertson, Encino, Brentwood and Tarzana in order to reach out to every local group in Los Angeles. Whether it is speaking to the Christian-Korean community in Koreatown to discuss the Iranian regime’s abuse of Christians, or reaching out to the LGBTQ community in West Hollywood about how gays are forced to have gender reassignment surgeries and face executions in Iran, a new public advocacy program about the evils of the Iranian regime is imperative today. Without the larger public knowing what crimes against humanity the Iranian regime is committing, no one will raise a voice to our elected officials to ratchet up the pressure on the Iranian regime. No one will demand that the current U.S. administration take a tougher stance on Iran’s heinous human-rights records if we as Iranian-American Jews do not educate others about this regime. Just as American Jews proudly launched a very vocal and public campaign against the former Soviet Union for its mistreatment of Jews and human-rights activists in Russia during the 1960s and 1970s, so must we as Iranian Jews in America today launch the same type of campaign against the Iranian regime. In the end, as the first victims of the Iranian regime’s reign of terror and murder, it is incumbent on us to educate the American public and the larger world about the tsunami of evil Iran’s regime is seeking to unleash on the Middle East as well as the free world. If we continue to remain silent about the human-rights crimes carried out by the Iranian regime against all Iranians and the terrorism it sponsors against non-Iranians, we have committed an even greater crime.


Karmel Melamed is an attorney and award-winning journalist based in Southern California. His blog “Iranian American Jews” can be found at: jewishjournal.com/iranianamericanjews/

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Emma Goldman Papers Project in danger of being shut down

As the University of California, Berkeley celebrates the 50th anniversary of the Free Speech Movement, a long-simmering feud over funding for the Emma Goldman Papers  — an archival project dedicated to the life and work of the iconic Jewish radical and free speech advocate — is coming to a head.

After 34 years of U.C. Berkeley affiliation, and more than $1.2 million of funding spread across the decades, the university has informed the project’s editor and director, Candace Falk, that her employment will terminate at the end of this month due to lack of funding. That decision, which the university’s chancellor has deemed final, could effectively shut down the Emma Goldman Papers Project (EGPP), which has been housed on or near the U.C. Berkeley campus since its inception.

“It feels like the rug is being pulled out from under us,” said Falk, who founded the project in 1980 with a grant from the National Archives. “Just as we are within a year of finishing the last volume of our series on Goldman’s American years, we’re in danger of shutting down.”

Falk said in an Oct. 13 email that if her funding dries up, the archive will have “no roof over our documents, no money for staff.” While Falk has secured private donations to float the project through December, beyond that, the future remains uncertain.

Falk, 66, has dedicated the better part of her adult life to collecting, organizing and publishing Goldman’s letters and writings, as well as trial transcripts and surveillance reports from the repressive era in U.S. history when the Russian-born anarchist was imprisoned in 1917 for speaking out against America’s entry into World War I. In some ways, Falk has come to embody Goldman’s anti-authoritarian spirit, wrangling for decades with university officials over funding for her project.

But despite Falk’s insistence that the EGPP has been given short shrift, university officials argue that funding for the project has, in fact, been generous over the years. It’s Falk’s repeated delays in publishing her four-volume series that have stymied her, they say, not a shortage of funds on the part of the university.

“It has been a major effort and we’ve generously funded it,” said Nils Gilman, associate chancellor and chief of staff to the chancellor. “You give people a certain amount of time to get their projects done, and then you make choices. To continue to fund this is to not fund something else.”

Robert Price, the university’s associate vice chancellor for research, pointed to a 2003 status report prepared for then-chancellor Robert Berdahl, outlining the numerous delays in Falk’s publication schedule. “The Emma Goldman Papers Project has had difficulty meeting the publication deadlines to which it has committed itself in grant applications, publisher’s contracts, and communications with the Office of the Vice Chancellor for Research,” the report read.

Falk attributed those delays to the detailed and painstaking nature of archival work, a revolving door of staff owing to funding difficulties, as well as two bouts with breast cancer. She noted that it took 15 years just to gather the trove of documents on Goldman, which number about 40,000, more than half of which are published on Microfilm.

Falk’s goal now, she said, is to complete the fourth and final volume of her series on Goldman’s American years in time for the 100th anniversary of the U.S. entry into World War I. She also hopes to digitize the archive in order to make it accessible to scholars and students; to that end, the EGPP has been awarded a $15,000 grant from the New York-based Lucius N. Littauer Foundation.

Until two years ago, the project received funding from the National Archives to the tune of about $100,000 annually. U.C. Berkeley funding began in 1988 and ended in 2003, after being extended under a previous vice chancellor. The EGPP has also received intermittent funding from the National Endowment for the Humanities.

These days, Falk said, she has no reliable source of funding, and while she has had success raising monies from private donors, those contributions have not been enough to cover her annual costs, which total $250,000.

According to Falk, the EGPP pays its own $1,700 monthly rent plus utilities for an office adjacent to the campus, and currently employs one full-time employee and two three-quarter-time employees.

Like Goldman, who was deported to Russia in 1919, Falk is mistrustful of authority and believes that the reasons for her funding woes are political in nature. She points to the Mark Twain Papers and Project, which is housed at U.C. Berkeley’s Bancroft Library and has its general editor’s salary paid by the university, as evidence of a double standard. “They have embraced that project, but they have not done so with the Emma Goldman Papers,” Falk said of the university, adding, “I think there’s a fear of a woman anarchist immigrant.”

Victor Fischer, associate editor of the Mark Twain Papers and Project, said that he admired Falk’s commitment, and that he was “horrified” by the funding difficulties she has faced. Asked what he saw as the reason for the funding discrepancy between the two projects, Fischer said: “The obvious one is that Emma Goldman is a Russian Jewish anarchist and her politics don’t necessarily meet with everybody’s politics. I can’t say for sure that’s why, but for some reason, Mark Twain is a figure who has been embraced by everybody no matter what their politics.”

University officials staunchly deny Falk’s claim that her subject’s radical politics played any part in the decision to end funding for the archival project. “To say that after decades of funding, she’s a victim of political discrimination strikes me as peculiar,” Gilman, the associate chancellor, said of Falk. “If we were politically discriminatory, funding would have been cut a long time ago.”

Nobody doubts the value of the EGPP, including Gilman, who said that as a historian and a former student at U.C. Berkeley, he had friends who had passed through its doors. Indeed hundreds of university research associates have worked at the EGPP, and in many cases, been launched into successful academic careers as a result of their involvement. “It’s been a great way to bring people into the process of archival management,” Gilman said.

Other repositories of Goldman’s papers can be found — in Amsterdam, for example, at the International Institute of Social History, or online at the Jewish Women’s Archive digital archive. But the EGPP is the most comprehensive, organized collection of Goldman-related materials in the world and integrates copies of smaller private and university collections. Its roughly 40,000 documents include Goldman-related newspaper coverage, legal documents, government surveillance records and third-party letters between Goldman’s friends and associates regarding her political activities.

Even a necklace of Goldman’s, donated by a relative in New York, is housed at the archive. Last summer, when Falk was awarded the 2014 Philip M. Hamer–Elizabeth Hamer Kegan Award by the Society of American Archivists, she wore it to the awards ceremony in Washington D.C.

“The collection is unparalleled in terms of the materials it pulls together,” said Judith Rosenbaum, the executive director of the Jewish Women’s Archive.

Steven Zipperstein, Daniel E. Koshland Professor in Jewish Culture and History at Stanford University, who brought Falk’s publication series to Stanford University Press, also lauded the work of the EGPP. “I don’t know of any other collection quite like it in its comprehensiveness, or in its capacity to draw on such a wide range of material to understand not only Emma Goldman’s personal and political life, but the world around her,” Zipperstein said.

Falk, who recently sent out an emergency fundraising letter to supporters and colleagues, said that she is forging ahead, and that the university can still accept private donations, as they have for other “imperiled projects.”

“I’ve been working on this project for 34 years,” Falk said. “I’m determined to finish.”

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Jewish humor in ‘Tent: Comedy’

Actor and comedian Jon Lovitz once offered this reason why so many Jews are funny: “To be funny, you have to suffer, suffer, suffer,” he said. “Jews, blacks, we’ve suffered a lot in the past. That makes us funny, I guess.”

Maybe this talent is also a survival mechanism; as Milton Berle famously quipped: “I live to laugh, and I laugh to live.”

The origins of Jewish humor also have become a serious topic of study, in academe and elsewhere.

“I think it mainly has to do with historical conditions around Jewish immigration to the United States, and the ways in which Jews adapted to life in America,” said Tony Michels, a professor of American Jewish history at the University of Wisconsin-Madison who teaches classes about Jews in comedy. 

Michels will lead a group of 20 aspiring humorists from around the country chosen to participate in “Tent: Comedy,” Oct. 18-25, at the Silverlake Independent JCC, now in its second year.

“Jews in their 20s want to connect with Jewishness in ways that are a little different from the ways their parents did,” said Josh Lambert, director of the national Tent program and academic director of the Yiddish Book Center in Amherst, Mass. “A lot of young Jews care about being Jewish, but haven’t found natural homes in Jewish institutions that are religious or political in focus, or which were built on old models. With “Tent,” we’re creating new kinds of Jewish communities around the issues and cultural areas that are most relevant to this generation.”

Mornings are spent discussing readings by the likes of Groucho Marx, Lenny Bruce, Woody Allen and Phyllis Diller, as well as watching vintage performances and listening to classic LPs. Participants also read academic papers, such as Sigmund Freud’s “Wit and Its Relation to the Unconscious.” In that essay, Freud offers several examples of Jewish jokes, pointing out that jokes made by Jews are usually funnier than those made about them. “Jewish witticisms,” he wrote, “are made exclusively by Jews themselves, whereas Jewish stories of different origin rarely rise above the level of the comical strain or of brutal mockery.”

Guest speakers will also address the group, including Jill Soloway, creator/writer/director of the critically acclaimed new Amazon Prime show “Transparent,” which New Yorker critic Emily Nussbaum called, “the most Jewish show I’ve seen on TV.” Soloway also met with the group last year, at which time her feature film “Afternoon Delight” was coming out.

Among last year’s speakers were screenwriter and New Yorker contributor Yoni Brenner, and actress Michaela Watkins, a former Saturday Night Live cast member. This year, Jason and Randy Sklar, hosts of the sports and pop-culture podcast, “Sklarbro Country,” will offer their own lessons on finding success in show business.

The nights include soaking in L.A.’s stand-up scene. Last year, Sarah Silverman entertained the group with a typically risqué set at the Largo, along with “Curb Your Enthusiasm” star Jeff Garlin and comedian Tig Notaro.

Among the students this year will be Matthew Epstein, who has been writing comedy since moving to Los Angeles seven years ago to attend college, and has honed his stand-up and sketch comedy chops at Improv Olympics, along with some television writing.

“My characters tend to be Jewish, because I base a lot of what I write on my own life,” Epstein said in an interview. A script he wrote for a show called “Missionaries” helped him break into the comedy scene, and got him an agent. 

“It was a mockumentary about evangelical Christian missionaries in South Central Los Angeles, except the main character was actually a Jewish kid who was going on a mission [in order] to win over his Jewish girlfriend,” Epstein said. “I actually went to Catholic school, so I’m very familiar with Christian theology. I dated a Catholic girl, and I definitely had a hard time being the one Jewish kid,” he said, laughing.

Being able to tell jokes, Epstein said, helped him get through high school and land him a career.

“Comedy has definitely helped me my whole life, by giving me an honest way to relate to people,” he said. “If you can make people laugh, you can get them on your side, and that’s how it’s always been for me.”

Epstein said that because writing can be a solitary process, he finds that networking is one way to create a much-needed support system. The fact that everyone is Jewish in the “Tent” workshop, he said, can add to that bond.

Among last year’s participants was Jessie Kahnweiler, creator of the web series “Dude, Where’s my Chutzpah?” and other comedy shorts that confront taboo subjects, like rape and eating disorders, from a Jewish perspective. One of the classmates she met at the workshop is acting in her current project.

“I’m a film director, so it’s really nice to be in groups of people, because I’m used to being on my own,” Kahnweiler said. “So it was cool. I like that shared learning.”

“Tent participants take away a community,” Lambert said. “They form a group of peers, across the country but connected online, from vastly different backgrounds, but who are all interested in the same questions and are fighting some of the same battles personally and professionally.” 

In addition, Michel said, participants leave with “some knowledge of this history, and they’ll continue to think about it, and hopefully if some of them go into comedy, that Jewishness will, in some way, be a meaningful part of the material.”

To learn more about “Tent: Comedy,” visit tentsite.org.

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‘Voices of Light’ and Joan of Arc illuminate mystery of faith

How did a nice Jewish boy from Short Hills, N.J., come to compose an oratorio to accompany Danish director Carl Theodor Dreyer’s 1928 silent-film masterpiece “The Passion of Joan of Arc”? According to Richard Einhorn, his score “Voices of Light,” came into being by “sheer accident.” 

“I wanted to do a piece about a religious subject,” Einhorn said from his home in New York. “Dreyer’s film wasn’t well known at the time, though there had been corrupted copies floating around. Then, in 1988, I saw a restored print. It blew my mind. On my way home, I already had the idea to use voices and Medieval texts to enhance themes in the film.”

“The Passion of Joan of Arc,” Dreyer’s enduring portrayal of religious persecution and the mystery of faith, considered one of the greatest films of all time, will be screened at Walt Disney Concert Hall on Oct. 19, with Grant Gershon, Los Angeles Master Chorale artistic director, leading a full orchestra and 115 singers, with a vocal quintet including two sopranos. The film will be projected in two locations and visible from every seat in the hall.

Based on Joan’s trial records from the 15th century — she was burned at the stake in 1431 at age 19 — the film conveys an uncanny documentary-like quality. Jean Cocteau said it “seems like an historical document from an era in which the cinema didn’t exist.” Italian actress Maria Falconetti, who portrays Joan, was reportedly nearly destroyed psychologically by the arduous demands Dreyer made on her during filming. After giving an indelible performance, she never made another film.

“This is a film about a woman confronting men,” said Einhorn, who in researching the piece read thousands of pages of writings, including Medieval mystics Hildegard von Bingen and Christine de Pizan. “I arranged the texts as commentary on the trial going on, but I’m not exactly underscoring the action. I tried to deepen and enhance the story.”

“Voices of Light,” which has also been performed as a stand-alone concert piece, met with international success after its 1994 premiere accompanying Dreyer’s film. Since then, Einhorn’s score and the film have been presented some 250 times around the world.  

“There’s nothing else that I know of that combines choir, soloists, orchestra and film in such an organic way,” Gershon said of Einhorn’s oratorio, calling the experience “overwhelmingly immersive and cathartic.”

He added: “Einhorn has compiled a tremendously compelling libretto. He’s also captured and even amplified the spirit of this remarkable film through a score influenced by plainchant, Medieval troubadours and minimalism.”

One of the challenges Gershon will face is timing the flow of Einhorn’s music precisely to the film. 

“With modern film scores, this syncing is usually done with a `click track,’ a kind of high-tech metronome,” Gershon said, “but that would kill the sense of freedom and musical line that’s so integral to a live performance.”

Luckily, Gershon said he knows the film well enough to “shape the music to it and make all necessary adjustments in real time.”

Einhorn was raised in a Reform Jewish family, and said his heritage is not really the focus of his art. 

“It’s about the music, though there is a Jewish way of looking at things,” he said. “Each religion has traditions specific to them. The question is, can you honor them in your work?”

Once a record producer for CBS Masterworks (he has good memories of sessions with pianist Glenn Gould), Einhorn, born in 1952, grew up playing drums in a rock band, then became fascinated with experimental arts. As a young film composer, Einhorn used electronic music to score films like “Shock Waves,” a 1977 cult classic — “best Nazi zombie picture ever,” a reviewer once raved on the Rotten Tomatoes website. That film, starring John Carradine, Peter Cushing and Brooke Adams, is due out on Blu-ray next month. 

It may seem a long road from zombies to Joan of Arc, the armor-clad French girl martyred so young, but for Einhorn, as for so many of us, the fascination of her story endures. 

“She heard voices and was true to them to the end,” Einhorn said. “Was she schizophrenic? She was grounded in reality, leading armies as a teenager. She breaks every mold. Wherever you go in this story, there’s a contradiction, and Dreyer and Falconetti captured that ambiguity perfectly.”

Einhorn said he’s seen Dreyer’s film at least 100 times. “There’s always something new to see. It’s a joyful experience to watch, for its artistry, acting, mise-en-scène, beautiful cinematography, editing. Yes, it’s a tragedy, but so [are] `Hamlet’ and `Macbeth,’ and we love these plays.”

 

“Voices of Light”/”The Passion of Joan of Arc,” with Grant Gershon conducting the Los Angeles Master Chorale, chorale orchestra and soloists, will be performed at Walt Disney Concert Hall on Oct. 19 at 7 p.m. For ticket information, call (213) 972-7282 or visit www.lamc.org. 

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‘Gone Girl’: Amy’s Cool Girl is not who you think

*Contains massive spoilers*

Before Gone Girl hit theaters, it had already established itself as more than just the latest David Fincher drama or an early Oscar contender. Gone Girl — adapted into a screenplay by Gillian Flynn from the 2012 bestseller by Gillian Flynn — turned into The fall event, and the doors open anytime day or night with the tap of your Twitter app.

The last couple of weeks or so were fraught with more feminist-misogynist volleyball and online gender-role play than Jezebel’s submission box the week Californication introduced the world to Hank Moody. What was it saying about gender power dynamics? Are they embedded in our social structure, or do we as individuals create them? Is all fair in love and war, or does hell hath no fury like a woman scorned? Is he a chauvinistic asshole or is she a sociopathic femme-bitch?

The analyses and think-pieces that grapple with these and an array of other subtopics within the Gone Girl context are enlightening and constructive, from all corners. Many see it as hugely empowering for women and the way they’re depicted in film. ” target=”_blank”>David Cox writes in The Guardian, “Women, some people believe, are self-serving, venomous and deceitful but can get away with whatever they want. It’s this outlook that Amy’s adventures could foster.”

It also puts a microscope on the institution of marriage and the psychological warfare it breeds, as well as the warped thought process behind our media circus. But something in the water wasn’t sitting right with me. And its source was the densely populated scenic patio at the Gone Girl event.

Amy’s Cool Girl monologue.

The Cool Girl monologue is its own being, a growth on its mother culture. It’s often at the forefront of Gone Girl speak and deservedly so; its implications are widely important and border on revolutionary. Here are a few excerpts from the book:

Men always say that as the defining compliment, don’t they? She’s a cool girl. Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she’s hosting the world’s biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl.

Men actually think this girl exists. Maybe they’re fooled because so many women are willing to pretend to be this girl. … And the Cool Girls are even more pathetic: They’re not even pretending to be the woman they want to be, they’re pretending to be the woman a man wants them to be.

The movie version is slightly different but accomplishes the same goal. Amy’s voiceover delivers the monologue after she learns of Nick’s sidepiece, Andie — a brunette bouncy ball and much younger student of his — leading to the logical conclusion that Andie was not only the inspiration for the monologue, but also the catalyst for Amy’s whole twisted operation. Yet Andie, from her first moment onscreen, bopping her way up Nick’s chest, crying for his love, clamoring over her lust, doesn’t quite fit Amy’s description of Cool Girl. Andie is needy. She asks too many questions. She demands Nick call her every day. Yes she’s a size 2, but hot dogs and hamburgers were not confirmed as part of her diet. And after Nick addresses the public with his undying love for his missing wife, we learn her loyalty to him is not unconditional. She’s not a satisfying manifestation of Amy’s Cool Girl arch-nemesis, at any rate.

One thing all sides agree on is Amy’s biting intelligence. She is a formidable puppeteer, tugging on the strings long before her marionettes know it. So it stands to reason that Amy is well aware her husband is something of an average Joe, and that giving in to more primal desires is not beneath him. Is Nick’s infidelity really what would send Amazing Amy over the murder-suicide edge? Her dopey husband sneaking around with a student? Not to suggest that people with Amy’s cerebral superpowers can’t fall victim to base emotions such as jealousy — there’s an argument to be made that the most highly functional and fully realized among us are the ones most prone — but would Amy allow herself to be that affected by such cliché? Maybe, but it just doesn’t sit right. This city deserves a better class of criminal.

Learning of Nick’s affair with Andie may have woken a beast that already had one eye open. Lingering on the sidelines is Nick’s twin sister and self-described partner in crime, Go. She and Nick have been virtually inseparable since birth. She is literally his other half. She tends bar at The Bar — his bar, paid for by the last of Amy’s trust fund — dutifully throwing back whiskey shots with her dear brother and pretending to like it. Through the investigation and interrogations, she sticks by his side. Even though he apparently has no problem seeking comfort between Andie’s legs as the cops patrol outside her house, even though evidence that her brother is a callous murderer piles up, as do the implications of her own involvement, her loyalty to him is unwavering.

Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl.

By all accounts, Go inhabits the Cool Girl persona much more than Andie does. What’s also clear for these intents and purposes is that Go and Amy’s relationship is strained, at best. Amy, for one, is intensely jealous of Go and resents her position on the list of important women in Nick’s life. We all think we’re the center of our own universe, but keep in mind Amy’s God complex is clearly exceptional. To say she’s a narcissist is a gross understatement. So when a person like Amy is uprooted from a New York high-brow home to live in her husband’s native Chateau Honkytonk, it’s a noble sacrifice, a holy gesture, and should be appreciated as such. And by accepting from Amy what remains of her trust fund so he can play bartender, Nick is pledging his allegiance to the United States of Amyrica. But despite her decadent displays of charity, Go is the one he always turns to. She’s the one he is most comfortable with. She is his home, not Amy. He loves her more and Amy knows it. If made to choose, it’s Go over Amy any day. And in Amy’s world, Cool Girl doesn’t get to win.

One of the final scenes has Go looking up at Nick, pleading, begging him not to stay with Amy. She asks how he could, knowing what they know. Then it dawns on her: “You want to stay with her, don’t you?” His silence is all the answer she needs to send her into a fury of broken sobbing. In this universe, not only does Cool Girl not win, Cool Girl is destroyed by the person she loves most. The orchestration is so very Amy.

There are other indications. After Amy has come home and the blood’s been washed off, she and Nick back-and-forth about their future together. He has his reservations. She insists it could never be any other way.

“You know me in your marrow,” she tells him.

Of all the words she could choose from, she chooses a direct reference to human biology. It’s a small point, but considering there’s another woman whose connection to Nick is biological, her choice is suspicious. And when rumors start to pop up in the media that suggest an unsavory relationship between Nick and his twin sis, that to me feels like a dare from behind the camera to buy what they’re really selling, or rather, to accept a re-purposed item not in its original packaging.

Last year, The New Yorker’s Emily Nussbaum ” target=”_blank”>@meldoinwell.

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