[For A Few Dollars More 1965 Torrents
Betty Neyhart
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Drifting from town to town, the poncho-clad Man with No Name and the lightning-fast right hand rides into the town of El Paso, in search of the maniacal escaped convict, El Indio. It's been eighteen short months since the deadly confrontation in A Fistful of Dollars (1964), and this time, the solitary stranger, now a professional bounty hunter, will have to go against his beliefs and do the unthinkable: join forces with the hawk-eyed marksman, Colonel Douglas Mortimer, to collect the hefty reward. Now, as El Indio and his cut-throats have already set their sights on robbing the crammed-with-cash Bank of El Paso, the stage is set for a bloody showdown at high noon, against the backdrop of silent double-crosses and fragile allegiances. But, is it worth dicing with death for a few dollars more?
In 1965, Hurricane Betsy demonstrated that a major hurricane could overtop the earthen levees of the 17th Street Canal. So the Army Corps of Engineers recommended two cost-effective plans which were 1) raising the height of the canal walls or 2) installing floodgates at the canal's mouth at the lakefront. The Corps felt both could provide reliable hurricane surge protection.
Since the cost for both approaches was about the same, the Corps ultimately elected to raise the canal walls using I-walls (concrete capped steel sheet pilings). The Corps did this partly because the local sponsors (Orleans Levee Board and the Sewage and Water Board) preferred it. The OLB and SWB viewed the floodgates plan as incompatible with their interior drainage responsibilities. (Note the gates plan did not include auxiliary pumps like those in place today.)
On August 29, 2005 at about 9:45 a.m, a monolith (30-foot long section of the concrete floodwall) failed sending torrents of water into New Orleans's Lakeview neighborhood. The water level in the Canal at the time of failure was about 5 feet lower than the top of the wall. The breach quickly expanded into a 450 foot wide gap through which storm surge water poured, killing hundreds (directly and indirectly), destroying hundreds of residences, and causing millions of dollars in property damage. Thirty-one (31) bodies were recovered from areas directly flooded.
Today, the adjacent land is vacant of homes, buildings and trees. Many foundations or slabs where homes once stood are all that remain. The repaired breach site now consists of a different sturdier design called a T-wall. Three times more expensive to build, the new wall is easily differentiated because of its different texture and different color. It is also two feet thicker.
Post-disaster studies conclude that the breach was due to steel sheet pilings driven to depths that were too shallow. Sadly, in recommending the I-walls with such short sheet pilings, the Corps had relied upon a poorly executed and misinterpreted study it had conducted near Morgan City in 1988. At a savings of $100,000,000, the Corps wrongly concluded it could short-sheet the steel pilings of the 17th Street Canal driving them to depths of not more than 17 feet instead of between 31 and 46.
In January of 2008, Federal Judge Stanwood Duval, of the US District Court for Eastern Louisiana, held the US Army Corps of Engineers responsible for defects in the design of the concrete floodwalls constructed in the levees of the 17th Street Canal; however, the agency could not be held financially liable due to sovereign immunity provided in the Flood Control Act of 1928.
In late June 1924 the Galesburg water supply was placed in major jeopardy. Damage estimated at over $250,000 dollars was done to property in the city of Galesburg and area crops in an overnight storm. The rain that began at 1:30 a.m. came in torrents, causing Cedar Fork Creek to overflow and forcing residents to flee their houses, and commenced pouring water into basements and first story windows. Cedar Fork quickly became more than a block wide and overflowed in the pits of the city waterworks.
Between 2 and 6 a.m. Galesburg was virtually without fire protection. Not only was the available water pressure of little use, the fire trucks were unable to move through the flooded streets. At daybreak arrangements were made with the CB&Q Railroad to turn water from Lake Bracken into the city mains in case of a fire.
1965. It had been seven years since Orson Welles directed Touch of Evil, more than 20 years since Citizen Kane, so a lot of people thought he was washed up when he shopped around a project he had created by blending bits and pieces of five plays by Shakespeare.
Chimes at Midnight was an epic that centered on Falstaff, a fat scalawag with tragicomic weight Welles had wanted to play for ages. He now looked the part, having put on quite a bit of weight, and the character's fondness for deception suited him too, especially when it came to dealing with producers.
When raising money for Shakespeare proved impossible in a Hollywood enamored of The Sound of Music, Welles simply lied to a Spanish producer who wanted him to direct Treasure Island, saying yes, he'd direct it (and even play Long John Silver), as long as he could make his Falstaff project at the same time.
Welles built sets that could theoretically work for both Chimes and Treasure Island, hired actors who could play in both films, but never wrote a single scene about pirates. He just pushed ahead on Chimes at Midnight in an eight-month shoot, using majestic Spanish castles as backdrops for English battles of succession.
Among the film's set pieces: a Battle of Shrewsbury for which Welles turned 180 extras on horseback into an army of thousands. The sequence would later inspire battle scenes from Braveheart to Saving Private Ryan to Kenneth Branagh's Henry V. It's regarded today as an anti-war statement on a par with Dr. Strangelove.
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