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TyphoonHaiyan - RW Updates
Philippines: Influencing in Emergencies: A Joint After Action Review
Nearly two years since typhoon Haiyan made landfall in the Philippines, advocacy teams from ActionAid, Christian Aid, Oxfam, Save the Children and World Vision take a step back to evaluate their respective advocacy engagements. This report puts together what different agencies saw as strengths and successes in their respective advocacy work. It looks at gains in achieving both formal policy changes and behavior changes of relevant sectors or communities. It also reflects on key challenges encountered, key lessons learned at different levels that were engaged (national and local), and the various implementation mechanisms utilized (direct, through partners, through consortia).
This report makes a strong case for advocacy in humanitarian work in the Philippines by highlighting how it has become instrumental in pushing for key reforms after Haiyan. Effective advocacy is critical in bridging reforms that should cut across both the humanitarian and development phases. It is likewise significant in hastening recovery and building resilience. Moreover, this report also highlights that there is much more that needs to be done. Best practices and areas for improvement are appropriate cues for moving forward, and are significant for forming the future agenda not just for the agencies involved in this study, but for all key stakeholders as well.
Philippines: WFP Philippines Country Brief, April 2016
The Government of the Philippines and WFP inaugurated the Visayas Disaster Response Center, which aims to enhance the emergency response capacity in the Philippines.
WFP released the initial results of its Emergency Food Security Assessment to determine the impact of El Niño on households in Mindanao and their livelihoods.
It is anticipated that with the upcoming elections in May, this period could be potentially turbulent and affect WFP operations.
Philippines: Leaving the Philippines after having "Built Back Better"
Lausanne/London, 23 May 2016 - In November 2013, the most powerful typhoon to make landfall in recorded history, Haiyan, struck the Philippines killing 6,000 people, and leaving four million people in need of shelter.
Within 48 hours, Medair had sent its emergency team to assess the damage and start a reconstruction project in communities which were completely destroyed around Dulag, on the island of Leyte, eastern Visayas.
Through its Build Back Better project, Medair gave 1,680 families new homes which are stronger, more durable and more resilient than their previous ones. Over 10,000 people were trained in Disaster Risk Reduction techniques, and many of the lessons were seen being used by the wider community to strengthen their homes and businesses against future typhoons.
Kaoruko Seki, from the United Nations Office for the Coordination of Humanitarian Affairs (OCHA), said: "It was our pleasure to assist Medair in support of its shelter project - a very timely and well-planned initiative that no doubt provides a vital support to the people of Dulag."
In August 2015, to respond to the sanitation crisis caused by the typhoon, Medair hired local contractors and construction teams to rebuild new and stronger latrines for 1,250 families who had lost access to a useable latrine.
With the help of a local charity, Medair was also able to give wheelchairs to people in the community who needed this assistance. Some homes were even built with special designs to include wheelchair ramps to give disabled people a greater degree of mobility.
Now, two and a half years later and having reached its objectives, Medair is leaving the country confident that the communities are equipped to face future natural catastrophes.
Alberto Livoni, Medair's Head of programme for the Philippines in Lausanne says: "It has been a privilege to help rebuild rural communities on Leyte Island and restore hope for those whose lives were devastated by the Typhoon. Our commitment to our beneficiaries was not to simply restore what had been damaged or destroyed, but to make sure affected families are better prepared to endure any future disaster. Having fulfilled this objective and achieved our mandate, we believe now is the right time for us to leave the Philippines."
Medair's humanitarian response to the Philippines was supported by All We Can (UK), Swiss Solidarity, EO Metterdaad (NL), ERICKS Development Partner (SE), Transform Aid International (AU), Tearfund (BE), Tearfund (UK), and generous private donors.
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Philippines: Report of the Special Rapporteur on the human rights of internally displaced persons on his mission to the Philippines (A/HRC/32/35/Add.3)
Note by the Secretariat
The Secretariat has the honour to transmit to the Human Rights Council the report of the Special Rapporteur on the human rights of internally displaced persons, Chaloka Beyani, on his mission to the Philippines from 21 to 31 July 2015.
Typhoon Haiyan (known locally as "Yolanda") made landfall in November 2013, killing thousands and displacing more than 4 million people from their homes. The Government must be commended for its reconstruction efforts to date and its initial responses to the massive internal displacement challenges. Given the extent of the devastation, significant progress has been made in providing transitional and permanent homes and restoring infrastructure. Progressive policies seek to mitigate the impact of future events, recognizing that the Philippines is on the front line of climate change-related extreme weather events.
Full recovery will take time following a disaster of such magnitude. However, two years on, attention and resources allocated to internally displaced persons, their housing and livelihoods, appear to be waning before durable solutions have been achieved for them. Many thousands lack adequate housing and the provision of basic services, including water, sanitation and electricity. Some have fallen entirely through the protection net and require urgent assistance. Following a decade of deliberation, the law on the rights of internally displaced persons should finally be adopted to provide essential legal protection to them.
In Mindanao, over the last four decades, multiple displacements due to conflict and disaster have become the common pattern in some localities. Intensified efforts are required to achieve lasting peace and to provide durable solutions to the many internally displaced persons who face relative neglect. Armed conflict and extractive and logging activities on indigenous ancestral territories have a devastating impact on indigenous peoples (Lumads), displacing them and subjecting them to gross violation of their rights and to conditions that threaten their unique communities, cultures and lifestyles.
I. Introduction
In accordance with his mandate under Human Rights Council resolution 23/8 and at the invitation of the Government of the Philippines, the Special Rapporteur on the human rights of internally displaced persons, Chaloka Beyani, conducted an official visit to the Philippines from 21 to 31 July 2015.
The Special Rapporteur thanks the Government for its cooperation with his mandate. He consulted numerous national and local government officials and thanks them for their time and information. He looks forward to maintaining a constructive engagement with the Government ahead.
He met many internally displaced persons and others, including indigenous peoples, at risk of displacement in different regions. He thanks the Office of the Resident Coordinator, the Office of the United Nations High Commissioner for Human Rights (OHCHR), the Office of the United Nations High Commissioner for Refugees (UNHCR), United Nations Children's Fund (UNICEF) and the Office for Coordination of Humanitarian Affairs (OCHA), among other United Nations agencies, for facilitating his visit and meetings. He is grateful to the Commission on Human Rights of the Philippines and many civil society organizations that provided information and assistance. The present report reflects on numerous causes and situations of internal displacement and provides an independent and impartial assessment.
World: Increasing the resilience of agricultural livelihoods - A summary
Due to the growing world population, it is estimated that global food production will need to increase by 60 percent to feed over 9.5 billion people by 2050. Worldwide, the livelihood of 2.5 billion people depend on agriculture. These small-scale farmers, herders, fishers and forest-dependent communities generate more than half of the global agricultural production and are particularly at risk from disasters that destroy or damage harvests, equipment, supplies, livestock, seeds, crops and stored food.
Disasters and crises don't just have immediate, short-term effects – they undermine livelihoods and national development gains that have taken years to build. As the magnitude and impact of crises and disasters increases – aggravated by the overexploitation of natural resources – more and more households, communities and governments of developing countries are less able to absorb, recover and adapt, making them more vulnerable to future shocks.
Philippines: Stories of Impact: Supporting Reforms Towards Disaster Resilience in the Philippines
Since 1990, the Philippines has been affected by 565 natural disaster events, which have claimed the lives of nearly 70,000 Filipinos and caused an estimated $23 billion in damages, making it one of the most disaster-prone countries in the world. Typhoons account for 74% of these fatalities and 70% of agricultural damage. Since 2009, the Global Facility for Disaster Reduction and Recovery (GFDRR) and the World Bank have supported the government of the Philippines in mainstreaming disaster resilience through technical assistance, which strengthens pre-disaster planning and risk reduction interventions.
The government has also worked to implement a comprehensive disaster risk financing strategy. This ongoing engagement has benefited from strong coordination with the government of Japan, the UK Department for International Development (DFID), the Asian Development Bank (ADB), the Japan International Cooperation Agency (JICA), and the GFDRR-supported World Bank Disaster Risk Management (DRM) Hub, Tokyo.
Philippines: UMCOR Partners in Response, Recovery, and Reducing Risk
By Christie R. House
May 12, 2016, PORTLAND, Ore. — Even in the bleakest of times, God can forge a path to bring people out of their deep despair into a resilient future of hope and promise. In the aftermath of a disaster, the path is most often cut by many hands together, and in some communities, the United Methodist Committee on Relief (UMCOR) becomes a valuable partner for sorting out immediate relief needs, planning long-term recovery goals, and assessing better ways to predict and prepare for the next disaster before it strikes.
Bishop Hee Soo Jung, president of UMCOR, and the Rev. Jack Amick, senior director of UMCOR International and U.S. Disaster Relief, teamed up in the Global Ministries exhibit area today during the 2016 General Conference to celebrate and thank some of the partners that make UMCOR's work possible — United Methodists who believe in UMCOR's mission and give, in a variety of ways, to further its ministry.
Face Storms Together
Bishop Jung described a recent trip he and Amick took to Tacloban, Philippines, to dedicate 143 rebuilt houses and five community storm shelters, fruits of an UMCOR building partnership in Leyte Province. The shelters will protect the communities, in the event of a typhoon or storm surge and in the meanwhile, will serve them as schools and multipurpose halls. The homes had been destroyed by Super Typhoon Haiyan (known in the Philippines as Yolanda) in November 2013.
Amick said he and Jung met some of the indigenous leaders who had been trained to respond to future emergencies. He recalled that one of them said, "There will be problems, and we will face storms, but we will face them together."
The Tacloban community lost many lives, homes, and livelihoods to Haiyan. One of the reasons the casualties were so high was because people didn't understand the warnings they received. They were told to expect a storm surge, but they had never heard that term. Amick said the people assured him: "If they had told us, 'tsunami,' we would have run!"
Bishop Jung said he was amazed "at how the villagers welcomed us. Many shook our hands and said, 'Because of you, we have a second life. Because of you, we can see a future that we can believe in together.'"
Amick added that one of the unique things about UMCOR is that while it can move money quickly during a disaster, it also works with partner organizations to help them improve their operations. "We help them live into the best practices for humanitarian assistance in this day and age," he said. "We try to build up the capacity of these partners."
16,000 Trained to Serve
In addition, Amick reminded the audience that, working with annual conferences, UMCOR also conducts training in the United States. Currently, there are about 16,000 U.S. volunteers trained to respond when there is a disaster in their region. Part of that training includes various mitigation projects, such as early warning systems.
"For 75 years UMCOR has been committed to this idea that we will alleviate suffering, regardless of race or creed," Amick said. "And in today's age, we talk about that in terms of impartiality, the right to assistance with dignity, and a very Wesleyan concept—first do no harm."
Christie R. House is the editor of New World Outlook magazine.
What to Do When You Want to Help
- When you see a disaster covered in the media — pray.
- When you see a problem in the world or a disaster strikes — do something locally. Find a way to help in your own community.
- Support UMCOR — become a partner that reaches out to people around the world and to other partners everywhere to help them do good well.
World: End the neglect: a study of humanitarian financing for older people
Humanitarian aid must overcome its blind spot on ageing, says HelpAge International
HelpAge International is calling for a more targeted humanitarian response for older people in conflicts and emergencies, after finding that less than one percent of recent humanitarian financing goes towards older people.
A new report, which looked at more than 16,000 proposed humanitarian projects between 2010 and 2014, found that only 154 had any activity specifically targeting older people, most of which weren't funded.
"The findings paint a clear picture of the challenges older people face", said Marcus Skinner, Humanitarian Policy Manager at HelpAge International. "Of the few humanitarian projects that do target older people, over a third were submitted by HelpAge, showing the sector has a way to go to overcome its blind spot on ageing".
The report, End the Neglect: a study of humanitarian financing for older people, shows that five UN Consolidated Country Appeals in 2013 and 2014 didn't include any projects that targeted older people, while only two donors consistently provided funding to projects addressing older people's needs.
"Last year, with the adoption of the Sustainable Development Goals, 193 countries committed to 'ensure healthy lives and promote well-being for all at all ages'", said Toby Porter, Chief Executive of HelpAge International. "To make this commitment a reality we need a humanitarian system that doesn't deliver a 'one size fits all' response but one that reacts to the specific needs and vulnerabilities of people affected in different ways, including older people".
The world's ageing population means that older people constitute a growing number of those affected by humanitarian crises. In a few years' time, the number of older people will surpass one billion and adults aged 65 and over will outnumber children under five. Two thirds of the world's older people live in low and middle income countries where disasters are more likely to occur and the human impact is greater.
"The humanitarian system must substantially improve the way it includes older people in humanitarian responses if it is to call itself principled, impartial and fit for the future," said Frances Stevenson, Head of the Humanitarian Team at HelpAge International.
The report concludes with a series of recommendations to humanitarian organisations and donors to play their part in delivering change for older people and other vulnerable groups.
Ahead of the World Humanitarian Summit, HelpAge has joined with other leading humanitarian agencies to produce an Inclusion Charter that sets out the core commitments needed to ensure humanitarian assistance reaches the most vulnerable. The Charter calls for funding that is commensurate with the scale of needs and is allocated impartially according to need, recognising the needs of different groups.
The following agencies have signed up to the Inclusion Charter: Plan International, World Vision, The Sphere Project, Christian Aid, Islamic Relief, MERCY Malaysia, SOS Children's Villages, CAFOD, War Child UK, HelpAge International, Center for Community Advancement and Family Empowerment (CECAFE), Ageing with a Smile Initiative and Age International.
Notes to editors:
The report, End the Neglect: a study of humanitarian financing for older people, can be found here
Data from the UN Consolidated Appeals Process (CAP) forms the basis of the analysis. The primary data collection tool was the Financial Tracking Service (FTS) managed by the UN Office for the Coordination of Humanitarian Affairs (UNOCHA).
The FTS project sheets were analysed to identify projects that included at least one activity specifically targeting older people, and projects that included activities that mentioned older people alongside other vulnerable groups. The FTS captures all information on projects in the appeals; however, reporting on whether a specific project is funded is done on a voluntary basis by the donor, the recipient, or both. It is recognised that donor funding is not limited to the contributions to UN appeals, and hence the study does not provide a full picture. Nevertheless, it is considered a sufficient proxy indicator for the levels of assistance provided to older people.
Recent reforms of humanitarian financing mechanisms and the shift from UN CAP to Strategic Response Plans (SRPs) have impacted on the methodology for this study. Where countries have made the transition from the CAP to the SRP, the original methodology outlined above could not be applied due to the lack of individual project sheets in the SRP process. The phased introduction of the SRPs across the study period means we have been able to undertake a near complete analysis of country responses in 2013 and 2014, and while in 2015 the sample size is reduced,[i] the findings indicate a continuation of the trends found in previous years. For the purposes of this study, the 2015 data are excluded from the analysis due to the limited sample size, and baseline data are taken from the 2010 analysis. A full list of the countries included in the study can be found in Annex 1 of the report. An overview of the main findings is presented in Annex 2.
For further information please contact:
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About HelpAge International
HelpAge International helps older people claim their rights, challenge discrimination and overcome poverty, so that they can lead dignified, secure, active and healthy lives. Our work is strengthened through our global network of like-minded organisations - the only one of its kind in the world.
[i] In 2013, 18 of the 19 appeal documents were analysed; in 2014, 19 of 28 were analysed; and in 2015, 12 of 23 were analysed.
World: Act Now or Pay Later: Protecting a billion people in climate-threatened coastal cities
- Miami and Kolkata ranked as most vulnerable coastal cities exposed to flooding
- Cities in carbon polluters USA, China and India most at risk
- UK ranks in the top 25 for most exposed future coastline
- Next week's World Humanitarian Summit offers hope to tackle problem
To mark the start of Christian Aid Week, a new report by the charity highlights the world cities most at risk from future coastal flooding.
Act Now Or Pay Later: Protecting a billion people in climate-threatened coastal cities, shows that more than a billion people are set to be exposed to coastal flooding by 2060 through a combination of sea level rise, storm surges and extreme weather.
Published today, the report reveals that it is people living in three of the biggest carbon polluting countries that will be most at risk: the USA, China and India.
According to projections for the year 2070, supported by the Intergovernmental Panel on Climate Change, India's Kolkata and Mumbai top the list of cities whose populations are most exposed to coastal flooding, with 14 million and 11.4 million respectively. The first seven cities on the list are from Asia, followed by Miami at number eight.
Miami is also forecast to suffer the brunt of the financial losses from coastal flooding by 2070, topping a separate list with an eye-watering $3.5 trillion of exposed assets. The USA is likely to pay a hefty price for its world-leading per capita carbon emissions, as New York also comes in third with $2.1 trillion. China's Guangzhou splits the two American cities with exposed assets of $3.4 trillion. In total, of the top 20 most financially vulnerable cities, half are from either of these two countries: four from the US, six from China.
Report author Dr Alison Doig, Christian Aid's Principal Climate Change Advisor, said the figures should be a wakeup call ahead of next week's World Humanitarian Summit in Istanbul (May 23-24). "We are facing a head on collision between the growth of coastal urban areas and climate change which makes coastal flooding more likely," she said. "This perfect storm is likely to bring about a heavy human and financial toll unless we do something about it.
"Cruelly, it will be the poor that will suffer the most. Although the financial cost to cities in rich countries will be crippling, wealthier people will at least have options to relocate and receive insurance protection. Evidence shows that from New Orleans to Dhaka, it is the poorest who are most vulnerable because they have the worst infrastructure and no social or financial safety nets to help them recover."
Dr Doig added: "There is a chance this horrifying vision of the future can be avoided. It is striking that the cities facing the most severe impacts are in countries with high contributions of carbon emissions. The first thing we can do is speed up the global transition away from dirty fossil fuels to the clean, renewably energy of the future.
"We can also do more to prepare for such occurrences. Spending money now on reducing the risk of disasters will save money and lives later. Such investment is a no brainer."
Ahead of next week's World Humanitarian Summit, UN General Secretary Ban Ki-moon has called for the percentage of global aid spent on disaster risk reduction to be doubled to 1%. This would bring the figure to $1 billion. Christian Aid is calling for a rise to 5%. Dr Doig said: "This billion dollars would go some way to help protect people in these cities now, and alleviate the threat for the billion vulnerable people at risk from coastal flooding by 2060."
In another ranking the report lists which nations will have the most people living in exposed coastlines by 2060. China tops the list, followed by India and Bangladesh. The UK comes in 22nd. Dr Doig said: "In the UK we've experienced in recent years the winter flooding that has left large parts of the country deluged. But these figures show that it's not just more rainfall we need to be wary of. The people living along our coastlines will become vulnerable to rising tides unless we do something about climate change."
The report goes on to examine how men and women are affected differently by climate related disasters, with women on the whole suffering more acutely. It also shows examples of where Christian Aid is providing practical assistance to help the most vulnerable deal with the climate impacts they are already facing.
Bangladesh is one of the most vulnerable countries to climate change and ranked 142nd out of 187 nations on the UN's Human Development Index. But donations to Christian Aid are helping lift people away from the floodwaters. Feroza Begum and her family are on the front line of climate change; their home was flooded multiple times and at one point was under water for 18 days. Thanks to help from Christian Aid partner organisation GUK their home and surrounding land was raised onto a sturdy plinth. Feroza was also given livestock and climate resistant seeds so that she can diversify her income and become more resilient. She said: "Because of this plinth, I feel better. Now I have been able to make a small plantation and grow some vegetables. I am doing much better and feel much safer."
"70% of C40 cities are already experiencing the effects of climate change and it is coastal and delta cities that are the most at risk from the impact of a rapidly warming planet. Mayors are already acting to protect citizens from climate related floods and storms and they are learning from those cities that have pioneered efforts to adapt, such as Rotterdam and Ho Chi Minh City. Now is the moment to invest and adapt our cities to protect the billion vulnerable people and trillions of dollars in assets." - Mark Watts, Executive Director, C40 Cities Climate Leadership Group
The full report can be accessed here: http://www.christianaid.org.uk/Images/act-now-pay-later-climate-report-may-2016.pdf
For more information contact Joe Ware at email@example.com or on +44(0)7870944485. The 24-hour Christian Aid press duty phone is 07850 242950. Notes to Editors:
World: Disaster-Resilient Microfinance: Learning from Communities Affected by Typhoon Haiyan
This analysis of the economic recovery of households in the Philippines badly affected by typhoon Haiyan (Yolanda) explores how microfinance can improve its role before and after such disasters hit.
Microfinance is now an embedded feature of almost all low and middle income countries inextricably linked to the development of local markets and economies. These countries are often the most exposed to extreme climate events.
The report sets out the experience, analysis and conclusions of VisionFund International and their Philippine microfinance operation Community Economic Ventures Incorporated (CEVI). This analysis follows the economic recovery of over 4,000 client households badly affected by typhoon Haiyan over the 18 months following the calamity and seeks to derive recommendations for future financial disaster risk management solutions. The work was funded by the Integrated Disaster Risk Management Fund of the Asian Development Bank with financial support from the Government of Canada.
- Overview: A Layered View of Risks and Financial Safety Nets
- A Case Study: Typhoon Haiyan
- The Benefits of 'Before the Event' Funding
- Implications and a Way Forward
World: A case for cash: crisis and disaster-affected populations' perspective
As the number, scale and duration of humanitarian crises increase, the provision of cash to affected people and communities presents a number of opportunities for more effective and efficient programming. The means by which such opportunities can be maximised is a source of ongoing debate involving a wide range of traditional and non-traditional actors. This short paper considers the perspectives of those directly affected by crises – the recipients of cash transfers in humanitarian settings. At a time of broad consultation around cash transfers, canvassing the perspectives of affected persons as those pioneering the use and effectiveness of cash in crises situations can only strengthen the effective evolution of cash transfer programming.
When faced with a disaster of any sort the needs of people and their communities can be great and are always diverse. They rapidly evolve over time and can vary considerably across regions. Failure to meet urgent or priority needs can trigger the use of negative coping mechanisms that may produce longer term consequences. Cash can provide the flexibility and capacity to choose and consequently is highly valued by beneficiaries in most contexts, who appreciate the possibility to allocate cash according to current priorities at the household level.
Whilst preference for cash is commonly reported, preferences are never similar within an affected area or population, and factors such as fear of inflation, distance to markets, perceived protection risks or cultural barriers to access can nuance those preferences. This paper outlines some of the existing evidence and a follow-up report will be developed which will summarise a more open dialogue with recipient households in three currently ongoing humanitarian contexts. By asking open questions the report will aim to identify principal concerns, ideas and perspectives in order to strengthen the discussions underway regarding the future of cash transfer programming.
Philippines: Restoring resilience and dignity – Philippine Red Cross Typhoon Haiyan shelter recovery programme nears completion
By MJ Evalarosa, IFRC
As it nears the end of its three-year operation to help communities to recover from Typhoon Haiyan, which struck the Visayas region of central Philippines, the Red Cross has helped build or repair more than 72,000 homes.
In April ceremonies attended by representatives from the Philippine Red Cross, the International Federation of Red Cross and Red Crescent Societies (IFRC), the International Committee of the Red Cross, Spanish Red Cross, Qatar Red Crescent Society, and American Red Cross were held in three different venues in the province of Leyte to mark the handover of more than 5,600 homes, three health centres and seven educational facilities.
Various approaches have been used by Red Cross partners to help families rebuild. The IFRC's shelter programme consists of shelter repair assistance, which provides people with the equivalent of 220.00 US dollars or 195.00 euros in cash and building materials. In some 'core shelters' have been constructed for some families who lost their houses and training has been provided which has allowed families to complete the construction process themselves.
Crisencio Auris, a 42-year-old carpenter, is one of those who directly benefited from the build back better approach. He has been working for the Red Cross as a skilled labourer since 2014 and was able to help build typhoon-resistant homes for his community in Pastrana, Leyte.
"See those tiles? I worked hard to earn the money to buy them," says Crisencio. "I placed all the tiles myself. I have six kids so the concrete floor would always get dirty. Instead of letting my wife spend hours and hours each day to keep it clean, I decided to save the money I earned to buy new tiles for my house which are easier to clean."
To ensure that each identified household will have a secure site for the next 10 to 15 years, the Red Cross is coordinating closely with local government units, volunteers and project staff.
"Identified households in communities are given an orientation and information on safe sites. We then assess the household's proposed location for potential hazards and risks and if we find them unsafe, we present alternative solutions, such as guidance on mitigation works or advising them to secure a safer site," says IFRC shelter delegate Colin Price.
Each core shelter's design was kept simple so that it focused on what the people needed, but at the same time, giving people the freedom to customize their homes.
The Palamos siblings, Alex and Elena, from District-IV, have both received core shelters from the Red Cross. Alex, 40, set up a makeshift barbershop on the site of his sister's former home, while Elena, 37, busies herself with a direct-selling business.
"Our family felt so lost after Haiyan happened," says 37 year-old Elena. "We saw all the hard work Red Cross staff and volunteers went through to make this happen, so thank you from the bottom of my heart."
"Together with the wider humanitarian community, our Red Cross Red Crescent family, through the strong leadership and initiative shown by the Philippine Red Cross, will continue to work towards recovery and renewal in the Visayas," says IFRC Program Coordinator Ramsey Raysis. "This way, we can ensure our communities are stronger, better informed, and more resilient to future disasters."
The Philippine Red Cross recovery operation is spread over nine provinces. Its shelter programme, which aims to support the rebuilding of 80,000 homes by the end of the year is supported by the IFRC, 17 Red Cross and Red Crescent national societies as well as private donors including Air Asia, HSBC, Citibank and Singapore-based CUBE.
•See inside Crisencio Auris' core shelter here: https://www.facebook.com/mjevalarosa/videos/10153777317542758/
•See inside Elena Gallaron's new home here: https://www.facebook.com/mjevalarosa/videos/10153777115547758/
Philippines: Philippines: Evaluation of DFID's Humanitarian Response to Typhoon Haiyan
The evaluation focuses on both the initial response in the first 3 to 4 months, which constituted largely relief, and the transition to recovery during 2014. It addresses 3 evaluation objectives, with a particular focus on cross-cutting issues such as:
- value for money (VfM)
- accountability
- violence against women and girls (VAWG) and protection
Philippines: Red Cross turns over completed shelter in Cebu's Bantayan Island
More than 1,900 completed shelters made for typhoon Yolanda (Haiyan) affected families in Bantayan Island in Cebu were formally turned over to the beneficiaries by the Philippine Red Cross (PRC) on May 1, 2016.
The shelter project in Bantayan Island, particularly in the municipalities of Madridejos and Bantayan, were done by the PRC in partnership with German Red Cross and was done under PRC's Typhoon Haiyan Recovery Program. More than 500 houses are still to be built in Bantayan Island for those who lost their homes to typhoon Yolanda in November 2013.
"Bantayan Island was one of the worst hit islands in the province of Cebu when typhoon Yolanda came. The typhoon left the island completely isolated in its wake, left several dead and thousands homeless," said Richard Gordon, chairman of the PRC.
Typhoon Yolanda made its fourth landfall in Bantayan Island in Cebu, which left around 30 percent of the island's residents completely without homes, while 90 percent of the houses that were left standing had the roofs torn off.
"With this housing project for the residents of Bantayan Island, the PRC and German Red Cross were able to provide not just a place to live for the families that have been affected by typhoon Yolanda, but more importantly, we were able to give them back their dignity and helped them start anew after their horrifying ordeal," Gordon added.
For the whole province of Cebu, PRC in partnership with other national societies in the Red Cross Movement and some private donors, have already built a total of 7,772 houses as of April 22, 2016. More than 600 houses are still to be built to complete the target number of houses for identified shelter beneficiaries in the province.
As of date, a total of 73,361 houses have already been built by the Red Cross and partners in nine provinces that have been severely affected by typhoon Yolanda. The nine provinces are: Aklan, Antique, Capiz, Cebu, Iloilo, Leyte, Palawan, Eastern Samar, and Western Samar.
Aside from shelter, PRC's Typhoon Haiyan Recovery Program also supported 8,354 households in Cebu with livelihood assistance, rehabilitated and reconstructed five health facilities, and rehabilitated and constructed water and sanitation facilities in seven schools in the province.
During the emergency phase of the disaster, 16,293 families in Cebu received food items, while 39,726 families received non-food items from the PRC such as plastic mats, blankets, mosquito nets, jerry cans, tarpaulins, tents, kitchen sets, hygiene kits, and shelter repair kits.
Around PhP 5 million emergency cash relief assistance were also given to the affected individuals and families in the province of Cebu in the aftermath of the typhoon.


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Ecumenical Patriarch Bartholomew Prays for Maxim, Bulgaria
Bulgarian President Rosen Plevneliev met Christian Orthodox Ecumenical Patriarch Bartholomew in Istanbul Thursday.
"We prayed for the soul of the late Bulgarian Patriarch Maxim. We prayed for the Bulgarian people and Church, and for the swift election of a new patriarch," said Bartholomew after the meeting.
"The Bulgarian Orthodox Church is the first spiritual sister of the Constantinople Patriarchy and has always been deep in our hearts," added he.
The Bulgarian President expressed his gratitude regarding the support his country has from Constantinople.
"Patriarch Maxim's role for the unity and vitality of the Bulgarian Church through some difficult times was tremendous," said Plevneliev.
"Bulgarian politicians have learned their lesson and the state has no intentions to meddle in the election of a new patriarch," added he.
The Bulgarian president also expressed hopes that the office of the head of the Bulgarian Church will not stay vacant for long.
As part of his visit to Istanbul, Plevneliev also visited the Bulgarian St. Stephen Church, which is currently undergoing reconstruction.
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St. Dominic at Borgia
Washington at Fort Zumwalt North
St. Clair at Union
Hermann at Owensville
St. James at New... more
Union beat Washington 4-3 on penalty kicks
North County 10 Sullivan 1
Madison Bumgarner couldn't be touched as the Giants defeated the Pirates 8-0 in the National League Wild Card Game at PNC Park.
The Cardinals have one more day to get ready for the start of the playoffs. They take on the Dodgers in Game One of the National League Division Series tomorrow in... more
The Rams are settling their quarterback situation. Head coach Jeff Fisher has named Austin Davis the starter for the rest of the season. He took over for injured... more
The Blues resume preseason play tonight as they welcome the Wild to Scottrade Center. It's the first of a home-and-home to close out exhibition play... more
The Missouri men's basketball team is reinstating freshmen forwards D'Angelo Allen and Jakeenan Gant.
Missouri is off this weekend, while Illinois hosts Purdue. The Tigers have a bye coming off a 21-20 win at South Carolina this past Saturday.... more
Sullivan at North County
Washington at Union
Washington at Holt
New Haven at Wellsville
De Soto... more
The KLPW Radio Athlete of the Week is Sophomore Lauren Gerlemann from New Haven High School.
Back in their days, Presidents Theodore Roosevelt and William Howard Taft were known for trust-busting. In an era of price-fixing, crony capitalism and corruption their actions helped to create more opportunities in the marketplace by creating competition.
Our nation's founders were well versed in the lessons of the history that preceded them. They knew of power's natural tendency to escalate into greater power.
So they included the Bill of Rights, based on the notion of individual self-determination.


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A Member of Ai Weiwei's Studio is Briefly Detained by Greek Police
Bahrain Backs Art Consultancy Firm's New Initiative to Promote Bahraini Artists Abroad
The Jay DeFeo Foundation Adds New Trustee and Announces its New Name
James Richards to Represent Wales at the 2017 Venice Biennale
Russia's National Center of Contemporary Art is Folded into ROSIZO
Art Basel and BMW Name Abigail Reynolds as BMW Art Journey Award Winner
Kate Sutton on the new SF MoMA and this year's Open Engagement
Wendy Vogel at the 3rd SPOT Production Fund Biennial in Istanbul
Travis Diehl on Los Angeles Poverty Department's What Fuels Development
Claudia La Rocco on Cecil Taylor, Miami City Ballet, and Vicky Shick
Jennifer Krasinski on Brodsky/Baryshnikov and Krapp's Last Tape
Claudia La Rocco on Trajal Harrell's The Ghost of Montpellier Meets the Samurai
Claudia La Rocco on Maria Hassabi, Pam Tanowitz, and Justin Peck
Catherine Damman on Martine Syms's Misdirected Kiss at The Broad
Nathan Silver, Stinking Heaven, 2015, digital video, color, sound, 70 minutes. Ann (Hannah Gross).
A TALE OF REHABBED JUNKIES shot on junky, rehabbed video equipment, Nathan Silver's Stinking Heaven is a singularly bleak smash-up psychodrama. Silver's fifth completed feature since 2009 comes in at a slender seventy minutes; he works at a brisk clip, and like the much larger filmography of South Korea's Hong Sang-soo, Silver's work thus far can be experienced as a series of evolving drafts, reworkings that give the feeling of working toward something rather than acting as a testament. In addition to Stinking Heaven, this year Silver premiered a four-minute squib of a short, Riot, a reediting of camcorder movies of the young filmmaker and his claque of white neighborhood friends recreating the Los Angeles riots in a backyard in suburban Massachusetts, oblivious to mandates of political correctness. The home-movie aesthetic is important to Stinking Heaven, shot on an Ikegami HL-79E, a 1980s vintage broadcast camera. More than providing a nostalgic patina, the obsolescent technology and the 4:3 broadcast television framing remind us how our perception of photographic realism is attached to a teleological sliding scale.
The setting of Stinking Heaven is identified as "Passaic, New Jersey 1990" by a single on-screen title; after that, viewers are left to fend for themselves. The movie opens as Betty (Eleonore Hendricks) shares a druggy idyll with her girlfriend, Ann (Hannah Gross), passing a jerry-rigged water bottle crack pipe, then stripping down to plash in an outdoor swimming hole. After the first of many vaulting elisions, we catch up with Betty as she is married to grizzled, middle-aged Kevin (Henri Douvry) in a living-room ceremony officiated by Jim (Keith Poulson). Gradually the dimensions of Betty's new life come into focus: The house is a communal living space for recovering addicts—per their charter, they "Choose to be together, choose to be sober"—presided over by Jim. They pay the bills with money earned by selling a homemade kombucha drink at local flea markets and, more importantly, with checks from a relation of Jim's who owns a scrapyard.
Silver's Soft in the Head (2013) takes place in a homeless shelter whose exclusively male population is stirred up by the appearance of a young female in their midst; his Uncertain Terms (2014), is set in a shelter for pregnant teenagers. In Stinking Heaven, the filmmaker again deals with the interaction of fragile group ecosystems and volatile outside elements. These are some of the same concerns which come about in directing an ensemble performance piece, and this connection is lent a self-reflective touch by the fact that the commune members are themselves, after a fashion, filmmakers—what we see of their group therapy consists of members helping one another to reenact their rock-bottom moments while someone stands to the side and videotapes the action for posterity. These exercises are sprung on the viewer unannounced; when, for example, Kevin barges into the living room in his underwear, shrieking about having been beaten up and pissed on outside of a bar, it's only after the initial shock has worn off that we detect the presence of a camera.
Silver had his cast cohabit for the duration of the heavily improvised shoot so that the circumstances of the production might more closely mirror those of the story being told, and he is simultaneously engaging with a realist tradition that seeks to pin down quicksilver emotional truth using the tools of fiction filmmaking while questioning whether such an endeavor is even possible. (And what, if any, validity there is to the cult of "overcoming.") Stinking Heaven is a movie at odds with itself, as its characters find themselves at odds with one another. In Silver's abrasive films, the communal enterprise is a sort of autodestructive art, in which mismatched, out-of-sync gears grind one another down, finally bringing the entire mechanism to a halt.
Nathan Silver, Stinking Heaven, 2015, digital video, color, sound, 70 minutes. Courtney (Tallie Medel).
If we can point to any single catalyst that sets the breakdown in motion in Stinking Heaven, it's Ann's reappearance in Betty's life. (Joining the group, Ann seems more motivated by spite toward her ex than a desire to get straight. This drives out Betty, never to return to the film, and triggers Kevin to relapse.) But in fact the seeds of the group's destruction are planted even earlier. While married to Lucy (Deragh Campbell) and ostensibly the group's authority, Jim takes every opportunity to slip into the communal van for interludes of afternoon delight with Courtney (Tallie Medel), Kevin's daughter, who looks on with big, Kohl-rimmed eyes from an adjacent bunk bed while her father and Betty share their first night of connubial bliss.
It's a scene-stealing part for Medel, whom I first clocked playing a teenager carnally obsessed with her older brother in Dan Sallitt's 2012 The Unspeakable Act—and it is worth noting that the subject of incest seems to have a peculiar pull for filmmakers originating in the small, claustrophobically tight-knit New York independent film scene. (See also Alex Ross Perry's 2011 The Color Wheel.) Silver's cast mixes indie veterans like Campbell, Gross, Medel, and filmmaker Jason Giampietro, very funny as the group's crooked-grinning instigator, with little-known gigging middle-aged actors like Douvry, Eileen Kearney, and biker-bearded Larry Novak, making for a motley combination of histrionic performance styles. Adding to the suffocating air in the house is Silver and DP Adam Ginsberg's penchant for smothering, shallow-focus close-ups, which also have the benefit of omitting background details and allowing the filmmakers to, with a minimal budget, make a more or less convincing period piece set on the brink of the Lollapalooza era. (The setting is not so prominent a part of the story as in Whitney Horn and Lev Kalman's tenure-track time capsule L for Leisure [2014], though Paul Grimstad's synth score does evoke period-specific Angelo Badalamenti dolour.)
The movie doesn't end so much as burn out. Centrifugal force spins the members of the commune off on their different courses, the narrative shakes itself to pieces, and Jim takes up an offer of a job at the junkyard. Stinking Heaven isn't a great leap forward for its director, but Silver's practice isn't the sort that invites that kind of tutelage-to-mastery conversation. It'll be right back to the drawing board—or the scrap heap—and another jagged rattletrap collection of spare parts.
Nathan Silver's Stinking Heaven has its New York theatrical premiere through December 15 at Anthology Film Archives.
Lewis Klahr, Sixty Six, 2002–15, HD video, color, sound.
BASED IN LOS ANGELES, where he teaches film in the theater department at CalArts, Lewis Klahr is one of America's most prolific avant-garde filmmakers. Drawn to narrative as well as short, lyrical "odes" of purely visual and audio associations, his style might be described as a form of mobile tableaux rather than animation—a term he rejects. Devising a highly original mise-en-scène, Klahr's images, taken from popular culture sources—e.g., magazines, comic books, catalogues, photos—are cut out and placed against backdrops, then manipulated in various ways, at times inserted and withdrawn, as if they were entering or leaving a "stage"—or, in filmic terms, moving on or off screen—a kind of children's theater with adult content. He photographs these complex designs frame by frame, conjuring such film conventions as fades, dissolves, superimpositions, long shots, or close-ups through palpable hand manipulations. Sound tracks are critical—whether individual songs, long symphonic pieces, abridged radio or television programs from his teenage years, or a collage of ambient sounds to evoke the atmosphere of a particular place.
His newest work, Sixty Six, comprising twelve short "chapters" produced between 2002 and 2015, is an ambitious attempt to view—and review—the iconography and themes of his cinematic fables through the lens of mythic archetypes. Sometimes the links are direct, as in "Mercury" and "Mars Garden," in which comic-book superheroes are intercut with or superimposed on government types animating the physical combat implied in the original without erasing the latter's graphic appeal. By filming the comics double-sided (both sides of a page simultaneously), Klahr creates a vivid palimpsest in which most of the bubbled dialogue is inverted and characters are willfully conflated. This conflation, arguably one of the series' principal themes, invokes as well as frustrates parallels between ancient myths and the artifacts and personae of contemporary life. A simple example is "Ambrosia," in which the food and wine of the gods is represented by a montage of black-and-white photos of banquet tables strewn with the remains of some festive event. Or "Saturn's Diary," which underlines the daily routines of a well-groomed corporate type with repeated images of a monthly calendar—where the number sixty-six makes one of its many appearances. In the spirit of Klahr's absorption with popular culture, his allusions are to the most familiar aspect of each god, using their Roman names—like our planets—rather than their Greek originals.
As he does frequently, Klahr grounds his material, whatever its source, in personal biography, often through choice of music. The poignant lyrics sung over the images in "Mercury" suggest as much: A man, "listening to all the dissensions," bemoans a failed relationship and tries to "heal" it with his song. It's hard not to take this as a modest acknowledgment of Klahr's earnest, perhaps "foolish" hope that his work can exert some impact on the world's—or his own—dissensions. The contrast between the song's tender delivery and the hyperactive mortal combat of his superheroes may reflect this contention. Titled after the alleged messenger of the gods, this first "chapter" of Sixty Six suggests that its "message," however masked or muted, reverberates throughout the series—if only in the form of the lifelong disillusionments that accumulate as we lose confidence in the mortal "gods" of our youth, and long for whatever moral and psychological compass they were once thought to provide.
In some instances, with a mere nod to the myth, Klahr generates mininarratives of heartbreaking melancholy. "Lip Print (Venus)," originally titled "Turn It Back," is, in Klahr's description, "a feature-length melodrama compressed into three minutes." As elsewhere, the protagonist, a "quintessential '60s blonde," is a composite of several comic-book figures. More potent, in my judgment, is "Helen of T," in which a "party girl" goes from blonde beauty to wrinkled middle age in a cruelly compact seven minutes—a fate echoed by a lone saxophone wailing through the night. In this audiovisual torch song, no Adonis-like Paris abducts Helen, nor, it would seem, has she ever had a Menelaus to come home to: Images of a pair of chairs and a double bed merely stress the absence of another.
The blonde protagonist in "Erigone's Daughter" fares no better. Hair pinned back à la Tippi Hedren or Kim Novak, she is assembled from several "Foto Roman characters" of the 1970s, clearly embodying a generation desperate to escape maternal and paternal figures, conjured here through an audio track collage of "Route 66," a TV show of the era. The movie seems to fuse—or confuse—the behavior of the Greek myth's Erigone—who had no daughter and who hung herself out of grief upon her father Icarius's death—with the perhaps suicidal desperation of the young woman in the video.
That Klahr's one-dimensional cutouts from comics or magazines yield such strong affect can only be because they resonate powerfully within him. Sometimes the feelings that drive a work seem purely nostalgic, as when he conjures a memory of a specific place in "August 1966 (Jupiter Sends a Message)" via the sounds of crickets and thunder over landscapes on Long Island where he lived as a child.
At other times, the material and the affect prove difficult to appreciate in one or two viewings. "Ichor" (in Classical Mythology, "the ethereal fluid supposed to flow in the veins of the gods"), for example, set in '60s Los Angeles, involves an orange-suited man seen in various states—laid out, falling through space, or lying on a deck chair in a bathing suit—who may be a victim of crime or of a disease he may have brought on himself. Unidentified men and women, a wife possibly, detectives, and medical figures move throughout, along with social and privately coded symbols, dollar signs, and small shiny squares that resemble everything from gambling chips to Scrabble pieces or lethal pills. Concern voiced by doctors and nurses alternate with oracular voice-overs that warn against vague threats and advise close attention to the planets. It's a woozy mix, which, given Klahr's penchant for blending the arcane with the cultural and the iconic with the inchoate, seems bent on resisting a cohesive analysis, however detailed its examination of every object, character, color, and frame.
"Lethe," the last "movement" of this cinematic tone poem, is named after a river in Hades, the water of which (see the Oxford Companion of Classical Literature) "was drunk by souls about to be reincarnated, so that they forgot their previous existences." The narrative concerns yet another blonde in distress, and the movie's duration is synced to that of the first movement of Mahler's (once incomplete) tenth symphony, which, as described in notes for a BBC recording of 1993, invokes "death-haunted nostalgia" ending in "serenity." As it has elsewhere (Visconti's Death in Venice comes to mind), Mahler's music overwhelms everything, so that the anxious mood of "Lethe," with its own images of illness, near death, and loss of memory seem dwarfed. Watching it muted several times, I was better able to appreciate its pathos as well as its subtle wit. The theme of memory loss finds a visual analogue in one of the very last images—and one of the loveliest in all of Klahr's work: Several of what seem to be artificial leaves slowly descend upon, then gently erase all trace of the protagonist, fusing, figuratively speaking, death with the possibility—or not—of rebirth.
The quotation that opens the entire series—"Let the dreams you have forgotten equal the value of what you do not know" (from Andre Breton's and Paul Eluard's "The Original Judgment")—speaks to Klahr's seemingly obsessive but nevertheless ambivalent exploration of the childhood origins of his feelings and desires. No search into the depths of the past is ever unqualified. There are as many confounding obstructions as poignant revelations in Klahr's work to suggest that his desire to "know" is often undermined by the natural fear that any final knowing may not only disappoint, but may compromise the value of artworks driven by stirring embodiments of the search.
If there is an idealized lost "object" that once defined the insular world of the child and whose power he or she hopes to reignite, a clue to its identity and significance in Klahr's case can be sensed in "Orphacles," a "god" of his invention, whose name links two of Greek mythology's preeminent figures: Orpheus, the archetypal figure of poetry and song, and Heracles, the archetypal image of physical strength, manly courage, and virtue. In fusing them, Klahr concocts not so much an incomparable god as the ideal man, whose physical superiority does not preclude a rich inner life. Are the dying, fluttering, giant mosquitoes that beset the characters in "Orphacles" metaphors for the stinging irritations that thwart such a wish? Or could this be the impossible dream of the sensitive, sickly child in Klahr's The Pharaoh's Belt, fighting for his life, young lord of a rich imaginary world that would yield a lifetime devotion to film art? If the gods and superheroes of Klahr's mythography haunt the embattled dramatis personae of his movies or embody wishes never fulfilled, they are also enduring images that continue to beckon.
Lewis Klahr's Sixty Six has its world premiere on Monday, December 7, at the Museum of Modern Art in New York.
Antonio Pietrangeli, I Knew Her Well, 1965. 35 mm, black and white, sound, 99 minutes.
ANY OVERVIEW of the career of Antonio Pietrangeli has to ask what might have been, for the Italian director died prematurely, very much in his prime, and before he could cement his legacy. The last feature that he lived to see to completion, I Knew Her Well (1965), was his most popular and remains among his best-regarded, a bittersweet comedy-drama starring Stefania Sandrelli as a teenaged provincial proletariat freshly arrived in Rome, oblivious as showbiz vampires feed off of her youth and beauty, tossing her a few nugatory, ultimately unsustaining rewards in return.
Unlike, say, Jean Eustache, Pasolini, or Fassbinder, whose oeuvres seem to anticipate and even be completed by their self-prophesied ends, Pietrangeli's exit from the mortal coil was unplanned, tragic, and slightly absurd. In the summer of 1968, during a break in shooting on his Come, quando, perché (How, When, and with Whom), he went for a swim in the sea near Gaeta, and drowned after waves dashed him against a rocky outcropping. He was then forty-nine years old. As the notes for a 2013 retrospective at the Austrian Film Museum note, this was "a death scene that could have appeared in one of his films," for Pietrangeli had established himself as the master of a particularly melancholic strain of the Commedia all'italiana genre, which provided a comic perspective on relations among the classes, between town and country, and (especially important for Pietrangeli) between men and women in the "Il Boom" years of Italy's dizzying modernization.
The resuscitation of Pietrangeli's reputation now continues with a retrospective—ten features and his contribution to the 1966 omnibus film Le Fate—at the Museum of Modern Art, who some years back did a similar service for the great Dino Risi. Viewed together, Pietrangeli's films show a remarkable consistency of vision and thematic preoccupations. In his directorial debut, 1953's Il Sole negli occhi (Empty Eyes), we find the same basic plot outline that would appear in I Knew Her Well a dozen years later: A young woman from a rural background—in this case Irene Galter—arrives in the big city to seek new opportunities, only to find that her gender and class background leave her vulnerable to exploitation from all sides.
Born in Rome, Pietrangeli had abandoned his early study of medicine and turned instead to cinema, where he would go on to deliver acute diagnoses of his country's psychopathologies. Starting out as a critic, he contributed to the journals Bianco & Nero and Cinema, the latter an incubator for filmmakers-to-be including Carlo Lizzani, Gianni Puccini, Giuseppe de Santis, and Luchino Visconti. Along with Pietrangeli, who contributed to the scripts of Visconti's La Terra Trema (1948) and Roberto Rossellini's Europa '51 (1952), these Cinema journalists would contribute in ways large and small to the cycle of postwar Italian films grouped together under the media-friendly name of Neorealism. (Like the French New Wavers to come, these ex-journos knew the power of branding.)
Empty Eyes, in which Galter plays a naive domestic bounced from home to home while being strung along and finally seduced and abandoned by a feckless, charming plumber (Gabriele Ferzetti, a regular collaborator of Pietrangeli's who died only this Wednesday), belongs to the Indian summer of Neorealism, though Pietrangeli's future output would respond to new developments in Italian cinema and society, all while retaining the same wistful irony. Lo Scapolo (The Bachelor, 1955), starring Alberto Sorti, is an early Commedia all'italiana effort, while Souvenir d'Italie (It Happened in Rome, 1957), accompanying three young women on an Italian tour, is a light, colorful, commercial travelogue that incidentally offers a satirical view of a tourist industry catering to a lust for authenticity—no less a personage than Vittorio de Sica has a small role as a nobleman who's taken to renting rooms in his Venetian villa.
Like contemporaries Risi and Pietro Germi, Pietrangeli's films dealt with the tragicomic mess wrought by Italian machismo, in all of its fragile pride, galloping hypocrisy, and socially sanctioned power. Rather uniquely, however, Pietrangeli preferred to filter his stories through the perspective of female characters—Galter's betrayed innocent, the trio of liberated vacationers in It Happened in Rome, or disillusioned Francesca (Jacqueline Sassard), who narrates the events of Nata di marzo (March's Child, 1958), recounting the story of her broken marriage to a thirtysomething architect (Ferzetti), from her decision to drop out of university to their gradual bust-up, as honeymoon and domestic harmony turns to bitter recrimination. (The script, whose contributors include Pietrangeli and director-to-be Ettore Scola, is a painfully incisive portrait of a relationship in nosedive free fall, full of stinging jibes: "You're so banal sometimes it leaves me speechless.")
Antonio Pietrangeli, La Visita, 1964. 35 mm, black and white, sound, 100 minutes.
Pietrangeli never reduced his female characters by enlarging them into idealized icons; his women could be vain, petty, calculating, and bullheaded, which is to say human. He presided nevertheless over several scenes of touching feminine solidarity, from the coda that concludes Empty Eyes, in which a group of housemaids gather in support of one of their own, to the extraordinary Adua and Her Friends. Released in 1960, Adua is set in the immediate aftermath of the passage of the 1958 Merlin Law, which effectively closed down Italy's brothels. The title character (Simone Signoret) takes the lead of a cohort of newly out-of-work working girls, including Emmanuelle Riva, encouraging them to try a new business model—a restaurant in the Roman suburbs that offers boudoir service on the side—until the unexpected pride that comes with running a legitimate, successful small business has them reconsidering going back into the world's oldest profession. Sex and economics are also inextricable in La Visita (The Visit, 1963), in which a Roman bookseller (François Périer) travels to a village in the Po Valley to meet a voluptuous thirty-six-year-old bachelorette (Sandra Milo) with whom he has been exchanging letters, though his interest seems mostly to be in her dowry and the teenage granddaughter of her housekeeper. Périer's toothbrush-mustached "Adolfo," who flashes the Roman salute when in his cups, is the very portrait of a would-be petty domestic tyrant, the dynamic of his barely-suppressed nastiness and Milo's doe-eyed eagerness suggesting a Commedia all'italiana version of Stanley Kubrick's Lolita (1962), though the film's resolution has a plaintiveness that is purely Pietrangeli.
Pietrangeli's comedies are distinguished by their undercurrent of wry pity and their remarkable acuity in both psychology and setting. No less than Visconti, though for the most part working in very different milieus, Pietrangeli's films show a great sensitivity to the way in which people, unconsciously obeisant to internalized behavioral codes, move in and between private and public spaces. Pietrangeli was an unobtrusive stylist who borrowed very selectively from modernist screen language, preferring shrewdly timed close-up accents and casual unbroken sequence shots that recall Preston Strurges. Rather than bravura showmanship, his best moments exemplify finely calibrated qualities of tone: the suburban dance hall on a Sunday afternoon in Empty Eyes, the domestic squabble put on pause for the priest's Easter visit in March's Child, or two nuns at a railway station breaking into a conspiratorial giggle while watching Milo primp and prepare herself in The Visit. MoMA's program gives much cause to regret the brevity of his life, and much evidence that he was a gifted satirical chronicler of the time and place in which he did live: a new Italy, torn between the musty leather-bound Bible and the glossy catalog.
"Antonio Pietrangeli: A Retrospective" runs December 3–18 at the Museum of Modern Art in New York.
Tom Hooper, The Danish Girl, 2015, HD video, color, sound, 120 minutes. Einar Wegener / Lili Elbe and Gerda Wegener (Eddie Redmayne and Alicia Vikander).
REDUCING A REMARKABLE LIFE AND MARRIAGE to stultifying solemnity, Tom Hooper's The Danish Girl might be most charitably thought of as a public-service announcement gussied up in interwar-period costuming and interior design. Based on David Ebershoff's 2000 novel of the same name, Hooper's project is a docudrama about artist spouses Gerda Wegener (Alicia Vikander) and Einar Wegener (Eddie Redmayne), who, in the late 1920s, began presenting as Lili Elbe and in 1930 became one of the first recipients of gender-reassignment surgery. In all fairness, some of the film's decorousness is rooted in the source material: In Ebershoff's book, the countless mentions of the "pickled-ash wardrobe" in the Copenhagen flat shared by Einar/Lili and Gerda (known as Greta in the novel) elevate the piece of furniture to a major character. (The shabby-chic dwelling the couple inhabits recalls the London speech therapist's office where George VI is cured of his stammer in The King's Speech, Hooper's innocuous biopic from 2010.)
Ebershoff's book, though, admirably plumbs not just Lili's complexities and contradictions but also the protean, at times painful, partnership she has with Gerda; Hooper's movie, in contrast, is so terrified of making missteps in its portrayal of its transgender character that it becomes strenuously anodyne. (The depth of the filmmakers' insecurity regarding their handling of Einar's transition to Lili is evidenced in the thick press booklet I received at the press screening, a dossier that includes a wholly unnecessary page headed "When discussing The Danish Girl: Terms to Know." The text is a preemptive exhortation to journalists covering the film, and one that is completely ahistorical and entirely nonsensical: "LGBTQ" is listed in this PR glossary; the acronym, of course, wouldn't be deployed until decades after the years covered in the film.) Even worse, amendments to the novel—The Danish Girl's script was written by Lucinda Coxon—do a grave disservice to the central dyad by making them more conventional than they were either in real life or in Ebershoff's rendering.
That's especially the case in the scenes devoted to proving the robustness of Einar and Gerda's heterosexual mating. Their bed-centered fun occurs off-screen, though not Gerda's morning-after wish: "I'm wondering if we made a baby last night," a procreative desire that exists only in Hooper's film. Other lines in the film sink with their retrofitted interpretations of gender studies, as when Gerda says to the industrialist whose portrait she's painting, "For a man to submit to a woman's gaze—it's unsettling." The mundane observation typifies most of Vikander's dialogue, which varies little between uxorial omniscience before Einar's transition ("I'm your wife—I know everything") and expressions of extreme martyrdom after it.
Redmayne, though his character undergoes the most extraordinary of changes, is paradoxically hemmed in even more. Lili, whose costuming here suggests Rrose Sélavy, isn't a woman or a body but a quivering mouthpiece, put in service to declare her virtue and noble suffering time and time again. In sanctifying Lili, the film voids her vitality, quite literally in one of The Danish Girl's closing scenes, an episode that Ebershoff wisely chose to leave open-ended. A closing intertitle declares of the film's heroine, "Her bravery and pioneering spirit remain an inspiration for today's transgender movement." But in this arduously pious version of Lili Elbe's life, she was born to die.
The Danish Girl opens in New York and Los Angeles on November 27.
A RETELLING OF THE EVENTS of the January, 1879 Battle of Rorke's Drift in the Anglo-Zulu War, in which a ragtag force of some hundred able-bodied British Army regulars successfully defended a remote supply depot from a vastly superior force of Zulu warriors, the 1964 film Zulu means a great many things to a great many people. It provided the great Welsh screen star Stanley Baker with a signature role as Lieutenant John Chard, and definitively broke through his thirty-year-old cockney costar, Michael Caine. It inspired a young Afrika Bambaataa in the Bronx River Projects to create his Zulu Nation youth movement, though its images of Afro-European combat, appearing in the midst of the civil rights struggle, remain necessarily racially loaded, and for some it's the definitive screen image of imperial martial valor, epitomized in the moment when the defenders of Rorke's Drift, fallen back to their last redoubt, raise their voices together to sing "Men of Harlech."
Zulu reflects both the spiritual sullying of combat and the mythic self-image of the United Kingdom in the full flower of Empire, and it should take nothing away from this to note that the same "Men of Harlech" scene occurs, in a very similar context, in Apache Drums, a 1951 Western directed by the Argentinean-born director Hugo Fregonese and produced by the American Val Lewton for Universal-International pictures, or that the director of Zulu—full name Cyril Raker Endfield—whose sobriquet might fit in on the roll call of Eton, was in fact the son of an Eastern European Jewish immigrant raised in Scranton, Pennsylvania.
Endfield is the subject of an eleven-film retrospective which opens today at Anthology Film Archives—among the many inducements to attend is an IB Technicolor print of Zulu, recommended above the DCP which circulated in the recent Rialto rerelease. His career began not in Pinewood but in Southern California, where he landed in September 1940, staying with his old friend, screenwriter Paul Jarrico, while he attempted to turn his credits in progressive theater and amateur magic into a studio job. Showing off his feats of prestidigitation for a bemused Orson Welles at Bert Wheeler's Magic Shop on Hollywood Boulevard led to an apprenticeship for the Mercury Theater unit at RKO, and two years later Endfield had finally managed to launch himself as a director of short subjects. (His first, a propaganda effort called Inflation, was snuffed at the behest of the U.S. Chamber of Commerce, a foretaste of futures frustrations.)
The earliest of Endfield's features to play AFA is The Argyle Secrets (1948), an independently produced quickie marked by an unusual level of political pessimism and a total absence of "sympathetic characters" which involves a race to find documents that prove prominent Americans struck contingency deals with the Axis powers in the event of an Allied loss, but he really made his name with two back-to-back films that might be classified as newspaper noirs. The Sound of Fury (1950) stars Frank Lovejoy as a down-on-his-luck regular Joe who, in order to put food on the table for his family, begins working as a driver for a slickster triggerman (Lloyd Bridges, whose preening "seduction" scene with Lovejoy is a highlight). Once Lovejoy's character is caught and jailed, this fairly straightforward tale of a man undone by ambition takes on a wider social scope, as a newspaper columnist (Richard Carlson) condemns the accused in the court of public opinion, and is rewarded for his efforts by the appearance of a lynch mob. The didactic commentary of a European observer—"Violence is a disease caused by moral and social breakdown"—was a lamented carry-over from the source novel by Jo Pagano, which drew from an actual mob uprising that occurred in San Jose, but the film, some of it shot on location in Phoenix, has a wonderful feel for life lived tenuously on the rung just above poverty, and Endfield's visceral handling of the movement of massed bodies in the concluding siege anticipates the director's later work on Zulu.
The Sound of Fury sets its scene in the Sun Belt anytown of Santa Sierra, where Lovejoy's character has come from Boston to look for work, while Endfield's The Underworld Story of the same year goes back to the precincts of Salem to offer live-at-the-witch-trials reportage. Dan Duryea, Patron Saint of Seedy Blondes, arrives in a backlot New England town bristling with cutout steeples and assumes a job at the local newspaper where, purely for reasons of profit, he takes up the defense of a black domestic (Mary Anderson, playing against racial type) accused of killing her employer. The actual culprits are a father-son team of local bluebloods who can trace their lineage back to Concord—"It'll be the word of a nigger against ours," says actor Gar Moore, in a moment of brute candor rarely seen in films of the day—but when they can't cover their tracks through backroom dealmaking with prominent citizens, they ally with Howard Da Silva's crime capo.
Just as he was starting to build up a head of steam, Endfield's brilliant Hollywood career was cut short. Screenwriter Martin Berkeley named him as a communist before the House Un-American Activities Committee—and friends and collaborators Da Silva, Bridges, and Jarrico were also being fingered. Endfield's engagement with radical politics had begun years before he came west. Born in 1914, Endfield was the son of a moderately well-off furrier, born in Łódź as Koniećpolski, but he showed little interest in taking over the store. ("Nothing like a small business," sneers Da Silva in The Underworld Story, "Backbone of the country.") His father's fortunes took a setback in the Depression, but Cy's scholastic abilities were enough to win him entry to Yale, though his status as a scholarship boy and a Jew developed his sense of class consciousness. (Also from The Underworld Story: "You know what's under ivy? Little crawling things.") We have a privileged insight into Endfield's political thinking during this period—intuitive, compassionate, and skeptical—thanks to his ongoing correspondence with Jarrico, then called Israel Shapiro, detailed in a superb biography by Brian Neve, The Many Lives of Cy Endfield, which appeared last summer. After two and a half years at Yale, Endfield lit off for New York City and the politically engaged New Theatre League, his course in life set.
Until 1951, that is. Some blacklistees went to Paris. Others, like Sam Wanamaker, Edward Dmytryk, Carl Foreman, Joseph Losey, and Endfield, headed for London. Contrary to popular belief, they weren't always greeted with open arms in their new homes, and in the first years of his exile Endfield had to operate under a plethora of pseudonyms: Charles de Lautour (his British "overseer" on set), Hugh Raker, and C. Raker Endfield. It was under the last that he had his first great success, on Hell Drivers (1957). Through the personage of a newcomer (Stanley Baker), this hard-bitten classic initiates viewers into the society of lorry drivers carrying short-haul ballast loads—a seemingly banal job, but encouraged by their supervisors and their own overweening pride, they daily risk life and limb to shave seconds off of their time.
Baker, a sensitive performer of tough coal mining stock, had previously worked with Endfield in Child in the House (1956), and their teaming was regarded as such a success as to spawn multiple "sequels," each featuring Baker performing feats of derring-do aboard a new mode of transit. The excellent Sea Fury (1958), which owes no small debt to Jean Gremillon's Remorques (1941), was shot partially on location in northeastern coastal Spain, and features Baker as an out-of-work first mate who finds a job with the captain of a salvage tug—a rumpled, splenetic, alcoholic Victor McLaglen, in a marvelous final film role. (The climax, which shows off the same partiality for cockeyed, canted angles seen in The Sound of Fury's boozy nightclub scene, takes place aboard an abandoned American freighter, tilted on its port side, called "The City of Scranton.") Follow-up Jet Storm (1959), which takes place entirely aboard a London-to–New York airliner captained by Baker, may not be the first in-flight thriller ever made, but it's the first that I know of. Taking place in the growing panic following the discovery of an on-board explosive, the film is bolstered by the presence of a fine ensemble cast including Richard Attenborough and rocker Marty Wilde, who croons a theme song with lyrics by Endfield himself. Jet Storm isn't Endfield's best work, but it is the purest distillation of a favorite theme that is something like his political philosophy: the importance of maintaining circumspection and calm in a crisis, whether a matter of resisting the "thoughtless emotionalism" of the mob in The Sound of Fury or the stiff upper lip that carries the day in Zulu.
Endfield and Baker, along with screenwriter John Prebble, were the principal architects behind Zulu, but the filmmaker was unable to convert its success into a more stable career. His last completed feature as director was Universal Soldier (1971), and the next quarter century of his life was occupied with uncompleted projects, the design of an early handheld word processor (the "Microwriter"), and a reengagement with his old passion for sleight-of-hand card magic. (Magicians recur throughout his filmography, and the power of the entertainer over an audience and the nuances of crowd psychology were sources of continual fascination.) He had done a great deal in cinema, but late in life he rued the fact that he hadn't done more—as should we, for there is much evidence here that Cy Endfield still had a few tricks up his sleeve.
"Sound and Fury: The Films of Cy Endfield" runs November 20–December 8 at Anthology Film Archives in New York.
Arnaud Desplechin, Comment je me suis disputé… (Ma vie sexuelle) (My Sex Life… or How I Got into an Argument), 1996, 35 mm, color, sound, 178 minutes. Paul Dedalus (Mathieu Amalric).
IT HAS TO BE the best movie title ever: My Sex Life… or How I Got into an Argument or, as it was reversed in the original French release, Comment je me suis disputé… (Ma vie sexuelle). But any way you parse it, the film to which the title belongs—Arnaud Desplechin's second feature, released in 1996 and currently available only in a dark and wan DVD—is a delayed coming-of-age masterpiece and one of the great French post–New Wave films. Desplechin has revisited the central narrative of My Sex Life—Paul Dedalus's tortured first love affair with the unsuitable Esther—in the 2015 My Golden Years, which will be released stateside in the spring. It would be splendid if My Sex Life were revived at the same time, or better yet, if some canny distributer would bring them out as a BluRay set.
My Golden Years is a cinematically bravura, emotionally rich memory piece about the formative years of a character who might be the director's alter ego. My Sex Life, on the other hand, is fueled by anticipation. Immersive, wildly romantic (the first sound you hear is a half-second arpeggio straight out of Vertigo), recklessly disorganized, and epic in length, it is the work of a young filmmaker looking at a heterosexual, bed-hopping, near penniless clique of postgraduate Parisians who are not much younger than he was at the time.
At the center is Paul (Mathieu Amalric, looking like a dead ringer for Jesse Eisenberg in The Social Network)—brilliant, self-involved, febrile, and terrified of commitment. Paul is five years late finishing his dissertation. Consequently, he doesn't earn enough money through his adjunct teaching gig to afford his own apartment, which means he has never been able to live with Esther (Emmanuelle Devos), his girlfriend of ten years with whom he's trying to break up. Paul's problems are nothing if not overdetermined, and that includes his festering feud with a glib former classmate, Frédéric Rabier (Michel Vuillermoz), who is now the head of the philosophy department where Paul teaches. Frédéric shows up walking hand in hand with a monkey. Bad things happen to the monkey, generating a hilarious depiction of privilege in academia that would be farcical if it weren't so true to form.
My Sex Life is filled with just such show-stopping set pieces: Paul's paralyzing panic attack while walking in the woods, the bare branches dotted with ominous bird nests, the ambient music sounding suddenly like Stravinsky; Esther in the shower, watching her menstrual blood flow down the drain, her sudden awareness of her own agency upending the images of the victimized Marion in Psycho and the titular Carrie, the incarnation of the return of the repressed. Paul's attempts to end his relationship with Esther involve him in guilt-producing affairs with Sylvia (Marianne Denicourt) and Valérie (Jeanne Balibar), the girlfriends respectively of his best friend and his cousin. Sex scenes abound, all of them fast and discreet. Conversations about sex make even more of an impression. In particular, Paul's admission that what he loves more than anything is putting his hand into a woman's underpants for the first time—"the surprise of what she feels like down there, the look on her face." (Please excuse my translation.) I know many men who would agree, but I've never heard it said in a movie. It's the giveaway that Paul, even after he completes his thesis, won't commit to a relationship until he's getting on in years and one of those women that he's feeling up for the first time looks at him as if he's a dirty old man. Which is the place he has just about reached in My Golden Years.
My Sex Life, which established Amalric as one of the most talented actors of his generation, is screening in the French Institute Alliance Française series "Mathieu Amalric: Renaissance Man," a nearly complete retrospective of his work as an actor and as a director. It has included two performances of a play, Fight or Flight (Le Moral des ménages), a two-hander for Amalric and Anne-Laure Tondu directed by Stéphanie Cléau (the costar and cowriter of Amalric's terrifying neo-noir The Blue Room). Literally a psychodrama, Fight or Flight is also a vehicle for Amalric, who is as compelling on stage as on the screen.
My Sex Life… or How I Got into an Argument screens Tuesday, November 17, at 4 PM and 8 PM at FIAF's Florence Gould Hall in New York.


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Comments about 'Mormon Parenting: Relationships: continuing your courtship'
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Sometimes the best things are the simplest! Just going on a date once a week
with your sweetheart--what could be better and what could be more fun and what
could be more important.
Thanks Eyres, for the reminder.
- 7:52 a.m. Aug. 24, 2012
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This seems like such an obvious thing.
Isn't everyone who is married doing this?
If not, then what in the world are you even thinking?
- 8:25 a.m. Aug. 24, 2012
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RE: we are told to leave father and mother for and to "cleave" to (his
wife[not wives]: and they twain shall be one flesh)Mt 19:5.
@advise all married couples to continue their courtship and go out on a date once each week.
When you consider Joseph Smith and Brigham Young had nearly a 100 wives between them they were pretty impressive in time management.
- 10:21 a.m. Aug. 24, 2012
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I'd love to go out with my honey on a regular basis...if I could afford the babysitter, to say nothing of anything we'd actually do on a date.
- 11:41 a.m. Aug. 24, 2012
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Vampire Hunters - Gameplay trailer
Who'd be a vampire hunter, eh? All that creeping about in the dark, with the stabbity stabbity. Not likely.
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