Tag Archives: Nazis

Code Name Verity

Code Name Verity US coverI have spent a good portion of my life avoiding all literature and movies that take place during World War II. I’m an emotional and empathetic person, and I just can’t deal with it!  I was forced to read Night in middle school, and to watch Schindler’s List and Saving Private Ryan before I was out of school.  I can’t take it! It’s too much abject and terrible misery happening all at once, all over the world. So I’ve actively avoided anything set in the period. Until recently. I realized as I began this novel that it was the 4th WWII era novel I’ve read in as many years.  It seems I can tolerate the time period if the war is in the periphery rather than the main event.  First, there was Atonement, which pretty much ruined my life while I was reading it.  Fuck You, Ian McEwan.  You kill me every time you cruel, heartless bastard.

In the last two years, I’ve read The Book Thief (amazing, amazing book.  READ IT!) and the Guernsey Literary and Potato Peel Pie Society (also very good), and now this.  These books were about women, which might be why the bulk of the violence is on the outskirts of the story.

Code Name Verity is the story of two girls.  Maddie and Julie.  Maddie is from the North of England, and she starts the war working in her grandfather’s motorcycle shop.  But she gets the itch to be a pilot, and as war efforts continue to require more and more people, she gets her chance.  She ferries broken planes and healthy pilots around the airbases of England in the Air Transport Auxiliary.  Her friend Julie is Scottish, well-bred, and is involved in Secret Ops.  Forgive me if I get some of these military names wrong; I have no capacity for remembering the difference between Special Forces and Secret Operations, etc.

The girls encounter each other several times throughout their work on airfields.  Their first meeting is when Julie and Maddie help an injured German pilot land his plane on their runway–by pretending he’s safely made it back to France.  Two things are really striking about these characters, given their time and place. 1-They are girls who are capable, skilled, and efficient at jobs almost exclusively reserved for men.  Maddie is a mechanic and a pilot; Julie becomes a spy.  2-They are incredibly close and good friends.  There are a lot of female friendships represented in literature as catty and jealous.  I know a lot of women who feel more comfortable with men than with other women.  Consider a character like Bella Swan from Twilight. She has almost zero female friends, and 99% of her life is caught up between two dudes.  Of course, there are a lot of problems with Twilight; I won’t go into all that.  The point is, seeing a strong and loyal female friendship is rarer than you might think.

This book is a little bit of a ‘mind game’, as the NYT blurb on the cover indicates.  The first 1/3 of the book is Julie’s narrative.  She is writing on borrowed scraps of paper after being caught in occupied France. She has been tortured by the Gestapo, and she is writing her story to delay her upcoming transfer to a concentration camp.  It’s bleak and manic, describing in detail her ill-treatment and her guilt over giving up information to the Nazi’s.  She tells the whole story of her relationship with Maddie, from its inception.  From Maddie’s point of view.  Maddie is on her mind constantly, because the Gestapo have showed her pictures of Maddie’s crashed plane and the charred body in the cockpit. The UK cover shows a more accurate depiction of the book, but I wonder if I would have read the book if it had had this cover?

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But there are twists and turns once we reach the middle of the book.  Both girls are so capable and so honest with their written accounts, that you start to believe that things might work out.  But this is Nazi-occupied France, and I’m not spoiling anything by telling you that it doesn’t all work out.  As much as I was hoping for a miracle at the end, there wasn’t one.  But the bittersweet ending makes you appreciate even more the truly bad-ass nature of these two girls, and of everyone just fighting for survival at that time.  People surviving the Blitz, the French resistance living in constant fear, the beleaguered and eternally-ruined souls of everyone who took part in the Nazi party and in the Gestapo.  Everyone was just…surviving, if they were lucky.  I really am not someone capable of dealing with this level of misery! If I think about it too much, I can’t get out of bed in the morning.

Before you have me committed for manic depression, I’ll snap myself out of it.  I had mixed feelings about the end, because the girls were so honorable and so easy to look up to, but anyone born in that time was just going to experience their fair share of misery.  Now that I’ve calmed down about the ending, I can look back and say that I really enjoyed the book. It was worth dealing with the pain to see such capable, smart, emotional, and brave women as main characters in a story.  No man to save the day; they rely on themselves.  The book also makes sure to make every character–even the Gestapo interrogator– a real human, with flaws and doubts and pleasures and pains.  Books that portray Nazi’s as superhuman monsters aren’t helping us avoid making the same mistakes in future. I think this book was really successful at taking a totally inhuman, alien concept like being a P.o.W. in a Nazi stronghold, or like hiding with a family in the French Resistance, and makes it seem real and comprehensible.  It gives life to an era I (fortunately) didn’t see.  I really enjoyed it, even though it required a lot of chocolate to recover from.

Spies of Warsaw

Spies of WarsawBBC America aired this 2-part miniseries in April, though it aired in the UK in January.  The miniseries was based on a spy novel by Alan Furst, and takes place in Poland (obviously) and throughout central Europe in the late ’30s. David Tennant plays Colonel Mercier, a French aristocrat and spy. Janet Montgomery plays Anna Skarbek, an official with the League of Nations and Mercier’s love interest.

I can’t say I loved it, to be honest.  I think there are a number of reasons for this –some my own preferences and some general problems with the miniseries–and I’ll run down them briefly.

First, I’m not crazy about the subject matter.  Almost all thoughts of World War II make me so upset as to be nauseous. The only thing that terrifies me more than Nazi uniforms are Hitler Youth uniforms.  But this is my own personal preference, and doesn’t reflect on the quality of the series.

Second, the format left something to be desired.  This was two 2-hour episodes; 2 full movies in other words.  I think there could have been a lot more tension built around the characters’ fates if it was split into maybe 4 parts.  I wasn’t entertained enough by it to focus solely on it for two entire hours.  And this isn’t just my attention span that is the problem–each episode of Sherlock is 90 minutes long, and I’m riveted for most every second.  I couldn’t fathom picking up my iPhone and doing solitaire while watching that.  I spent good chunks of my viewing time for Spies of Warsaw playing a geography game on my phone.  Hey, anyone need to know where Guinea-Bissau is? Because I’m hoping that knowledge will bring me the big bucks in life.  The point is, it was too long and moved too slowly for 2 hour blocks at a time.

I think that the miniseries has something in common with Parade’s Endwhich was on HBO a few months ago.  Each dealt with the lead-up to war.  Each featured a smart, strong male lead convinced that war was coming.  Both protagonists struggled to make their compatriots understand the catastrophe Germany was about to unleash upon Europe.  Stylistically, both featured long (long for a modern film audience) shots of not much action, interspersed with more tense and action-filled scenes.  Each had good acting and good writing, and yet each suffered from the problem of not quite connecting emotionally with the audience.  And I’m not enough of a film student to comprehend what about each fails to really move me.  I liked Parade’s End a lot at times, but with Spies of Warsaw, I found it difficult to care much about what was happening.  I think my apathy came partially from not having a vulnerable or relate-able main character.  Mercier sees what his coworkers do not, he’s a great spy, he cares about people, he is too good and too capable.  It takes away from the tension of what might happen to him, because even in moments of distress and danger it seems impossible that he won’t come out of it just fine.

I will say that these two miniseries (plus Casablanca) have utterly convinced me that love affairs are really difficult in situations of World War.  Note to self.

David Tennant’s acting is great. I’ve seen him play serious before (Hamlet, for example) and he’s really good.  The female character, Anna, has almost no personality in it, so they didn’t give Janet Montgomery much to work with. In response to finding out her new boyfriend is a spy, she…doesn’t say anything, really.  I would have liked both characters to be far more flawed, unsure, stumbling along through ridiculous times.  It does an audience no good to think of anyone existing at that time as a paragon.

I remember watching a great but horribly violent movie, fittingly titled A History of Violence.  Viggo Mortenson plays some sort of ex-mafia criminal who starts a new life in a small town and is completely reformed.  When someone tries to rob his restaurant, instinct kicks in and Mortenson’s character kills the robbers in self-defense.  From that moment, his past starts to come back to haunt him. His wife (Maria Bello) finds out who and what he was, and she has an incredible reaction.  Vomiting, shouting, running out of the room, and then they have this crazy, scary, exciting sex scene.  It’s a real and varied and unnerving response to finding out your beloved is not who or what they said they were.  When I think about Anna Skarbek’s character, I don’t expect the same reaction, but it almost seemed like there wasn’t one.  She finds out her new beau is a spy and she….just kind of accepts it and moves on.  I suppose you could argue that everyone in the series is someone other than who they pretend to be.  After all, if you were inclined to disagree with Germany (or Russia, for that matter), you wouldn’t be inclined to advertise it.  Perhaps Anna is used to it, but I found it off-putting that she had such a monotonous emotional landscape.

To her credit, she does get properly angry with Mercier later when she thinks he ordered the French to turn her defector ex-boyfriend over to Stalin.

Confession: I am not a spy novel aficionado.  I don’t think I’ve ever read a spy novel. Maybe that’s part of the problem–I don’t speak the lingo.  On the other hand, I’ve seen Casablanca, The Maltese Falcon, and at least one other Bogart movie.  And I followed those just fine.  I think they were just better.  Also, I really liked Tinker Tailor Soldier Spy, which falls right in there with great spy films.   Spies of Warsaw has the music of a great spy film, and some of the quintessential visuals, but none of the tension.  And tension is everything.  Have you seen Strangers on a Train?  Hitchcock can make a tennis game the most tense and suspenseful thing in the world.  This was no Hitchcock, unfortunately.

They did a great job recreating a bleak and terrifying Central European landscape for this miniseries.  Security checks and random searches, the Poles sandwiched unhappily between the Gestapo on the west and the Russian NKVD (later, the KGB) on the east.  France being still (at this point) a relaxing place nicely separated from all the riff raff on the other side of the Black Forest.  Parties in Paris…but still a feeling of the doors closing in, for the Jews particularly.  The costuming, the set design, and the cinematography all made the world really believable.

I think the fault must lie in the pacing and the writing (two things that I imagine are closely intertwined when writing a movie/mini-series).  There’s not enough tension or enough direction in the plot.  It feels disconnected at times, and the ending is thoroughly confusing.  It tries to make you feel uplifted that they’ve escaped Poland (which is good, obviously) with a bunch of Polish gold to keep it from the Germans (also good).  But they’re headed to France, so the modern audience knows that this isn’t the end; this isn’t a happy ending, even though they almost literally walk off into the sunset.

Also, it is a bit confusing for an American audience to have two Brits with British accents playing a Frenchman and a Polish woman.  I kept forgetting Mercier was French.  Maybe this wouldn’t bother me if the actors were American, because I wouldn’t register their accents as something already foreign.  I doubt it bothered Brits.  Still, when you have David Tennant playing a French man with a British accent meeting an English aristocrat with an English accent, it’s difficult to remember they are supposed to be from different countries.  Others, like the Russian ex-boyfriend has a proper Russian accent.   Tennant explained the action choices in this Joycean quote:

There is actually an internal logic to the concept. Since the main character is French, but the audience is English-speaking, we hear him speak with a sort of a neutral English accent, and anyone else speaking English is actually speaking French, and the other nationalities speak English but with their natural accents, and the Germans speak German with English subtitles – which I suppose makes [the subtitles] French. I can see your eyes glazing over.

I think my brain just glazed over.  Sorry David, I love you and I don’t blame you, but this just wasn’t very good.

W./E.

Despite some terrible reviews, I decided to give this film a chance because I really find the whole abdication scandal of Edward VIII very interesting, and this did have a very different spin on it than all of those History Channel specials talking about how Edward was a Nazi sympathizer.  I think a lot of the terrible reviews come from people who dislike Madonna, or dislike her as a filmmaker.  Because while it wasn’t a great film, there were parts of it that were nice (the music, the visuals, the costumes).  It certainly doesn’t deserve the same Rotten Tomatoes rating as Showgirls.

The film follows two similar stories.  One is that of Wallis Simpson, an American woman who was married and divorced twice before the King of England decided he wanted to marry her (actually she was still married to the second guy when they really fell in love).  The PM, the British people, his family didn’t want Edward to be with her, and he ended up giving up the throne so that they could be together.

The other story is of a very wealthy American housewife, Wally (Abbie Cornish), married to a workaholic philandering abusive doctor in Manhattan.  She was named after Wallis Simpson, and she jokes that her parents ‘wanted her to marry a Prince’.  That probably influenced her in marrying her dreadful husband.  She is drawn to the story of Wallis and Edward, because of her namesake and her similar situation, so when there is an exhibit and a Sotheby’s auction selling many of their personal possessions, she goes every day to …well basically to imagine herself living out Wallis Simpson’s life.  She meets a security guard there, who is really a Russian intellectual, named Evgeni (Oscar Isaac).

The 1920s half of the story is infinitely more interesting than its modern counterpart.  Wallis Simpson’s abusive first husband makes you sort of immediately sympathize with her and excuse most of her behavior. I found both actors who portrayed Wallis and Edward (Andrea Riseborough and James D’Arcy) to be really charming and believable.  You understand immediately why Wallis is fearless, is a survivor. You also understand why Edward would be drawn to her when he’s surrounded by sycophantic socialites.

When the 20th century equivalent Wallis is abused and cheated on, however, you just wonder why she doesn’t just leave him.  She complains he made her give up her career when they got married, and she does cliché housewife crap like secretly take IVF drugs to try to get pregnant.  All I was thinking was why doesn’t she just leave him, get her job back (or a job), and have a kid on her own.  Or something. Do something. It doesn’t make me empathize with her, it makes me dislike her.

As I said before, the film is really visually appealing, particularly the period half of the plot.  There were also a few really interesting scenes that made me think about what it is to be a woman.  Wallis (the original) talks about how people have never called her beautiful. They’ve called her attractive, which is the polite way of saying she has done the best she can with what she has.  She also says something like…if I couldn’t be the most beautiful, at least I could dress better than anyone else in the room.  It is so sad and so true that so many women feel that the best they can hope for is to have people notice the effort they put into their appearance, even if they never feel confidence spring out of all that effort.  And the really sad thing is that a woman like that is probably better off than most women who don’t put in any effort, because they are too busy despising themselves for having chubby ankles or non-photoshopped ab muscles.  But I digress!

I did find myself being bothered by some of the glossing over of facts.  I mean, Edward and Wallis did meet with Hitler in 1937, and Edward gave a full Nazi salute during the visit.

The film sort of palliated this whole incident as rumor and malicious gossip, but there’s …there’s a fair bit of evidence that Hitler, at least, thought that Edward was sympathetic to the Nazi cause. I read an article that said the FBI was conducting surveillance on the couple, and that there were suspicions that Wallis had an affair with a Nazi, to whom she passed secrets.  Of course the FBI haven’t released any of these files, to my knowledge, so it’s still all conjecture. Still that puts a rather unpleasant spin on what the film calls an incredible love story.

Not that the movie is trying to paint it as a fairy tale, especially for Wallis.  It’s very obvious that the abdication crisis meant that neither Wallis nor Edward would be able to be together without giving up a lot of their lives.  In fact, they were never allowed back to England again–Wallis came back for Edward’s funeral in 1972, but they were never brought back as a couple.  They both were sort of miserable (in the film) because though they could now be together, they couldn’t really live their lives.  Edward’s brother, the new king George VI, wouldn’t take his calls or allow him to return home.  Tabloids (and apparently the FBI) followed them everywhere.  And, as the film points out, after such a monumental sacrifice, it was impossible for either of them to end the relationship, even if it soured. They were rather stuck together.

The film also really deifies Edward as a doting, loving husband and a genuinely good man who was forced to choose between his country and the woman he loved.  Some of that may be true, but it also makes you wonder about that choice.  If you consider that his abdication came in the mid 1930s, when the entire continent could already see that another horrific war was coming. In that same year, Nazi Germany invaded the Rhineland, radical forces took over Japan, Italian forces started to expand into neighboring territories, the Spanish civil war began, Italy, Germany, and Japan became de facto allies–this was all during one year! It was a full 3 years before WWII officially began, but it’s as clear as day what was going on.  This is the moment that Edward decides to leave his post, his country, his duty.  To leave it to his poor brother, George VI, played recently by Colin Firth in The King’s Speech.  As a younger brother, George (known as Bertie by his family) had never expected to have to be king, and here was the responsibility heaped on his shoulders less than 1 year after his father had died, with a world preparing for an epic disaster. Not to mention his speech impediment and his discomfort in the public arena. In the movie and in real life, Edward doesn’t seem to have put much thought into what that meant for his brother, his family, his country. That’s not a man that I think I could love.  I’m not one for duty, traditionally, but in situations like that your responsibilities are not only to your own happiness.  And the film just…glazes over these facts, painting Edward as someone who wants to help in the war and contribute something, but isn’t allowed to.

So the film is naive at best.  It also seems sort of…self-indulgent.  I’m not enough of a film buff to really describe why I got this impression. I don’t have pretentious words to describe the choices directors make in setting up shots or whatever. I found the period half of the movie interesting, even if it was unrealistic.  The 20th century part of the movie was just …pointless.  Predictably, Wally eventually leaves her abusive psychotic husband–though I must point out that she only leaves him when Evgeni comes and takes her away from their apartment to his own.  So, really, she gets rescued.  And he takes her back to his apartment in Queens or Brooklyn or similar, and he has one of those apartments that is meant to look Spartan and bare, and be the opposite of her posh Upper East Side place with her husband.  So there’s exposed brick and a grand piano and lots of second-hand paperbacks.  But in reality, people pay thousands and thousands of dollars for their apartments to look exactly like that.  So it’s bullshit.  Then the two of them, again, predictably, start dating and she’s so much happier that she abandons her Chanel dresses and starts wearing newsboy caps and playing pool at bars.  Okay then.  Because if you change men, your wardrobe changes immediately too.  Or maybe I’m just supposed to believe she was really hip the whole time and now her true self can come out.  Either way, I found it nauseating.

I think you could make a really amazing film out of just the period parts of this movie, and that it would be 1000 times better for eliminating the modern equivalent altogether.  It’s an interesting subject, especially when you consider if he had not abdicated, whether England would have had a Nazi sympathizer for a king and a pacifist for a PM.  How would modern Europe look if that had happened?  That’s a far more interesting topic than one silly housewife and her need to compare her life to the woman she was named after.