What a lot of twaddle we have had to read and listen to about a silly, meaningless film of Royal children giving the Hitler salute. Our understanding of the Hitler era, and of the war that followed, actually seems to get poorer as the years go by. The left-wing fantasy that the British upper classes were in some way Nazi sympathisers is somehow inescapable. No doubt a few boobies were initially taken in. Many others saw something admirable about the German revival, failing to notice, or hiding from themselves, the evil aspects of National Socialism. But the numbers who remained pro-German once war was certain were tiny. I am not sure this could be said of Soviet sympathisers (see below), who opposed the war against Hitler until 1941.
Many open-minded British people in the 1920s, including the (then) Communist sympathiser Graham Greene, thought Germany had been harshly and unjustly treated at Versailles. Winston Churchill famously had a few good words to say about the early years of Hitler as a national leader and a reviver of his country. Personally, I like to think (though I cannot know) that I would have realised from the first what sort of person Hitler was. I think it would probably have been quite difficult to do.
What is fashionable now was of course unfashionable then. This is a thought that one needs to retain in one’s mind when considering Atticus Finch in ‘To Kill a Mockingbird’. When it was fashionable to be racially bigoted and to ignore justice for that reason, Finch courageously resisted fashion. Now that it is fashionable to be unbigoted, Finch is somehow reclassified as a bigot, by people who might well have accepted the nasty conventional wisdom of 1935, had they been there at the time. The orthodox are always orthodox, whatever the orthodoxy is.
One of the few in Britain to realise and repeatedly warn of the full extent of Hitler’s murderous Judophobia was the highly conservative Bishop of Durham, Hensley Henson. He did so before the outrages of Kristallnacht in November 1938 made it plain to even the semi-conscious that lawless homicidal race-hatred was on the loose, licensed and encouraged by the Hitler government. Henson was , I am told, treated as a bore and nuisance for ‘banging on’ about this subject. See http://www.independent.co.uk/voices/editorials/queen-nazi-salute-it-is-shocking-now-but-many-once-saw-hitler-as-funny-10400518.html
But the Left has always sought to divert attention from its own almost universal admiration for Stalin, which continued long after the crimes of the Bolsheviks had been exposed by émigré revelations, by alleging a matching admiration for Hitler on the right. There’s also the misrepresentation of the Chamberlain policy of appeasement as being motivated by some sort of sympathetic softness towards Hitler. Does Winston Churchill’s later much greater appeasement of Stalin (firmly backed by his Labour and Liberal coalition partners) represent sympathy with Stalinist Communism? I do not think so. Both Chamberlain and Churchill were motivated by what appeared at the time to be realistic common sense, at the time. I also have to add at this point that the British and French Left had no great enthusiasm for the rearmament which both countries rather belatedly embarked on , once they realised that a war in Europe was inevitable.
On the contrary, the Labour Party was voting against Defence Estimates and conscription as late as the Spring of 1939, and the French Communists (who after the Stalin-Hitler pact regarded war with Hitler as ‘imperialist’ and thus not worthy of support) may well have been responsible for the demoralisation of the French Army in 1939-40. The myth of the ‘Guilty Men’, and of British ruling-class sympathy for the Nazis, dies hard.
All of which brings me to the actual subject of this posting, the newly-released (in Britain) film ’13 Minutes’, about Georg Elser, who in November 1939 came very close to assassinating Adolf Hitler, but whose extraordinary lone action is little-known and little-celebrated, in his own country or abroad – in sharp contrast to the Stauffenberg Plot of nearly five years later, which is so well-known that it has even attracted the notice of Hollywood.
’13 Days’ is not a Hollywood production. Its title in German is ‘Elser – er hatte die Welt verandert’ (forgive my failure to include the important umlauts) which means ‘Elser – he would have changed the World’ (My thanks to PJS and others for corrcting my rudimentary and forgotten German. Though I haven't studied the language since I was 13, I really ought to have worked it out for myself). The Director, Oliver Hirschbiegel, was also responsible for ‘Downfall’, the tremendous film about the last days of Hitler in his bunker, whose scene of Hitler driving away the truth with molten rage has been abused in many a subtitled spoof.
It is almost as good as ‘Downfall’ and in some ways better. Its portrayal of the assassin himself is far from straightforward hero-worship, with an (often but not always) selfish and troubled personal life , though most will still come out of the film full of admiration for his act of lonely, righteous, morally-complicated courage.
Very little dramatic tension is squeezed out of the attempted killing itself. After all, we know already that it failed and the most potent part of the story (unlike in the fictional 'Day of the Jackal’) lies in what happened to the would-be assassin after he is caught.
Elser was an accomplished and inventive craftsman, who, entirely on his own, designed an efficient and powerful time bomb, stole the detonators and explosives from various workplaces, and very cleverly and patiently concealed it in a pillar close to where he knew Hitler would make his annual speech to former party comrades in the BurgerBraukeller in Munich. It really ought to have succeeded. Had it done so, I suspect few would remember the innocents who did undoubtedly perish as a result, history being what it is. History would of course be wrong to do so, and if anyone thinks that assassination is morally simple, even when Hitler is involved, let them consider the Munich waitress, blown to pieces, and her bereaved family. If it is true (and I strongly suspect it may be ) that we cannot do evil that good may come, can the great evil of Hitler(much of it unknown and undone in November 1939) overcome that problem? You tell me. Elser, who returned strongly to his Christian faith in the weeks before he acted, plainly worried about the matter. At one point, broken down by torture and despair, he tells his interrogators (in the film, I do not know if he actually said this) that he now fears that his action was wrong, because it did not succeed, the implication being that God had not wanted it to succeed. How he coped with the rest of his life, I cannot imagine. He was never tried. Instead he was kept in special zones of Sachsenhausen (near Berlin) and Dachau (near Munich) concentration camps until he was murdered by the SS (his death falsified as the result of a bombing raid) . Thus led to (baseless) claims that the whole thing was a put-up job, designed to make it look as if Hitler was guarded by providence in which he had been a Gestapo catspaw. The inability of people to believe that he had acted alone would always be a problem.
As in the later failed attempts to kill Hitler, recounted by Alan Clark in his superb ‘Barbarossa’, there is something rather diabolical about the fact that Hitler escaped what would otherwise have been certain death by just 13 minutes, leaving the hall earlier than expected to catch a train (he had meant to fly back to Berlin, but fog was threatened, so he decided to take the train). Hence the English-language title of the film.
His arrest, thanks to an astonishingly clumsy attempt to sneak across the Swiss border at Konstanz, led swiftly to his detention and interrogation (his pockets were full of evidence pointing towards his involvement) .
The film subjects us to part of that interrogation. Grim as it is, it does not begin to replicate the savagery of the real thing, which left Elser beaten until he was almost unrecognisable, with his eyes bulging out of his appallingly swollen face (we know this because the Gestapo brought members of his family to see him during the questioning) . Heinrich Himmler is said to have taken part personally in the interrogation – mainly designed to get Elser to confess to working for the British secret service, or some other outside force. Hitler could not believe he had acted on his own, none of his close associates had the courage to contradict this belief, and so Elser had to be compelled, by hideous methods, to agree with Hitler. Except that he would not do so. This is totalitarianism in action. How many fingers am I holding up, Winston?
During this ghastly process (imagine making a full and truthful confession, and finding yourself then surrounded by cruel , violent all-powerful men who refuse to believe you and want you to say something else), the camera indicates all too clearly what is going to happen, and what has happened, but does not, I am glad to say, actually show it happening. Like the female Gestapo stenographer, we are spared the worst but horribly aware that it is taking place.
Intercut with this muted horror are scenes from Elser’s former rather rackety life in a Germany rapidly descending into barbarism. I have seldom seen this process better portrayed, as it takes place in a small, poor town ( I believe the handsome town of Weidenberg, in Upper Franconia, is used for most of the scenes, though much of the film seems to have been shot in the South Tyrol, that strange anomaly, a piece of Austria lost at Versailles that Hitler never demanded back, out of gratitude to Mussolini – Hitler had intended eventually to resettle its German-speaking people in … Crimea, long coveted by German expansionists).
The organised harassment of churchgoing Christians by the Hitler Youth, busily singing insulting anti-Christian songs, portrayed here, will come as a bit of a surprise to those who are convinced that National Socialism was a Christian enterprise. The pressure on all normal people to compromise with the Party and regime is also shown in a convincing way – private neutrality simply wasn’t an option in such places. Even the way you said ‘hullo’ in the pub or at work marked you out. And the idea of Germans as uniform, subservient conformists is also dealt a bit of a blow – though it’s sadly true that Elser’s family were treated as unpatriotic pariahs in postwar, liberated Germany, whose conversion into a liberal, tolerant open society wasn’t exactly instant.
There’s a startling and rather horrifying postscript, concerning one of Elser’s interrogators which I won’t say any more about here.
You’ll swiftly forget that the film is subtitled. Like ‘the Lives of Others’, ‘Good Bye Lenin’ and of course ‘Downfall’, this is an absorbing and thoughtful film which will stay with you long afterwards. Being foreign and subtitled, it will of course be difficult to see unless you live in the sort of place that has an arthouse cinema. Once that would have been that, now, there’ll be a DVD.
It’ll tell you much, much more about Hitler, Germany , morality, terror, history and truth than any number of films of little girls doing mock Hitler salutes in long-ago London gardens.