The twenty-second letter of the alphabet became a powerful symbol during the Second World War — ‘V’ for Victory, and all that. Even the Morse code for the letter — dot-dot-dot-dash — became useful, echoing as it did the famous four-note motif from Beethoven’s fifth symphony.

In South Africa, however, the two main languages were English and Afrikaans, and the Afrikaans word for victory, oorwinning, does not start with a ‘V’. Instead the letter was used to stand for vryheid, or freedom, just as in Belgium it stood for both victoire for the Walloons and vrijheid for the Flemings.

When the Second World War started Prime Minister Hertzog announced a policy of neutrality, only to be toppled as premier by his deputy and ally Smuts who brought South Africa into the war a few days later than Canada, Australia, and New Zealand.

This wartime propaganda poster, produced by the Staatsdrukker in Pretoria, urges South Africans to ‘keep the iron hot for freedom’. The country’s industrial production made a valuable contribution to the war effort in addition to the volunteer manpower of the Union Defence Force and, perhaps most importantly, the gold that came from the Witwatersrand mines.

WHEN I WROTE about the Danish film “Flammen et Citronen” in July, I mentioned that it’s not very often that a big-budget period film comes out of Scandinavia, but that recently there’ve been not just one, but two. Readers may have been wondering about the other film which remained unmentioned. I caught the single showing of “Max Manus” during Norwegian Film Week (actually a fortnight) at Scandinavia House on Park Avenue here in New York. This was undoubtedly one of the best films I’ve seen all year, vying with “The Baader-Meinhof Complex” for the top position.

The film begins with newspaper headlines showing the increasingly precipitous situation in Europe from the beginning of the Great Depression onwards. Germany’s economy is ruined and inflation is rampant, Hitler rises to power, Hitler and Stalin invade and divide Poland, Great Britain and France declare war on Germany, and finally Stalin invades Finland. The eponymous hero of our film, Max Manus, is Norwegian but volunteers to fight for Finland when it is invaded by its Nazi-aligned totalitarian neighbour the Soviet Union in the Winter War of 1939-1940. (more…)

IT’S NOT VERY OFTEN that a big-budget period film comes out of Scandinavia, but recently there’ve been not one, but two. Here mentioned is the Danish film “Flammen & Citronen”, an action-drama based on the Second World War actions of Bent Faurschou-Hviid (nicknamed “Flame”) and Jørgen Haagen Schmith (“Citron”). Faurschou-Hviid and Schmith were members of the Holder Danske group, a Danish resistance organization primarily composed of Danes who had previously fought for Finland against the Soviet Union in the Winter War of 1939-1940. (more…)

I recently discovered that we receive the television channel Russia Today in our humble little flat here in Stellenbosch, and have spent the past few days enjoying it. They are shockingly truthful (almost nasty) in their reporting of international relations, in so far as the truth — for the moment — tends to favour the Russian case in world affairs, and make NATO look like a bunch of ninnies. Saturday — May 9 — was Victory Day in Russia, in which the defeat of Nazi Germany in the Second World War is commemorated and celebrated. RT showed many minutes of splendid highlights from the great parade in Red Square, and I just sat and enjoyed it.

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What is this cartographic madness? Hanover part of the Netherlands? Kassel ruled by France? Nuremburg part of a Bohemia that reaches to the Frankfurt suburbs? Hamburg in Denmark? Regensburg on the Austro-Czech border? I came across the company Kalimedia in an article from Die Zeit a month or two ago and discovered their map of a Europe without a Germany. Believe it or not, there were plans of one sort or another to achieve similar results at the end of the Second World War. The major plan for the dissection of Germany was merely a creation of Nazi propaganda, and while the vaguely similar Morgenthau Plan did exist, it was soon shelved once its impracticality became obvious.

The Bakker-Schut Plan, meanwhile, was a Dutch proposal for the annexation of several German towns, and perhaps even a number of German cities. German natives would be expelled, except for those who spoke the Low Franconian dialect, who would be forcibly dutchified. They even came up with a list of new Dutch names for German cities: c.f. the post at Strange Maps on “Eastland, Our Land: Dutch Dreams of Expansion at Germany’s Expense”.

No, this isn’t a photograph of the latest Norumbega staff meeting, it’s a publicity shot from the upcoming United Artists film, “Valkyrie”. The film tells the story of Claus Philipp Maria Schenck von Stauffenberg, the heroic German Catholic noble who was the mastermind behind the July 20 plot against Hitler. Needless to say, there has been much anticipation over this film, especially since the lead role went to Tom Cruise, who has never quite got the knack of acting. Like Jeremy Irons, he seems to believe that completely different characters require little or no change in performance, but is mysteriously still making films nonetheless. (Cruise at least has the excuse of being a Scientologist to explain his success… what’s Jeremy Irons’s?).

Despite the poor choice of Mr. Cruise play Count Stauffenberg, the rest of the cast includes some pretty inspired choices. Playing Countess Nina von Stauffenberg is Carice von Houten (above), whom you will remember from “Zwartboek”. She’s joined by fellow “Zwartboek” actor Christian Berkel (top photo, seated far left), who played the evil General Kaütner in the Dutch film, the character responsible for the downfall of the good German, General Müntze, who was played by Sebastian Koch (better known for his role in the hit “Das Leben der Anderen”) who (pause for breath) actually played Count Stauffenberg himself in a 2004 German television production called “Stauffenberg”. Speaking of downfalls, Berkel (we’re back to him now) also played a nasty Nazi in the 2004 film “Downfall” depicting the last few days in Hitler’s bunker. [Correction: Berkel actually played Dr. Ernst-Günter Schenck, one of the good guys.] Some more of the cast…
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UNQUESTIONABLY: “Zwartboek”, or “Black Book” as it was released here in the United States. Sebastian Koch you will recall from “Das Leben der Anderen” (which, come to think of it, probably ties with “Zwartboek” for film of the year), while Carice van Houten will be in the next James Bond flick.

But is it better than director Paul Verhoeven’s previous Dutch World War II film, “Soldaat van Oranje”? Difficult choice! Happily, both films display a certain monarchist tendency.

Today we bring you the story of a man known as both Brother Louis of the Trinity, OCD, and Admiral Georges Thierry d’Argenlieu.

D’Argenlieu graduated from the Ecole Navale in Brest and was awarded the Legion d’Honneur for his actions in the Great War. After the war, he became a Carmelite friar, taking the name of Louis de la Trinité. As the Second World War commenced, he once again put on the uniform and partook in the defence of France from the pagan Nazis. Once France was vanquished, he escaped to London where he allied himself with General de Gaulle and the Free French Forces, eventually becoming the commander of the Free French Naval Forces. At the Liberation of the Paris, he strode down the Champs Elysée with de Gaulle and Leclerc and attended the Te Deum at Notre-Dame.

Incidentally, he was also the one who suggested the adoption of the Croix de Lorraine as the symbol to differentiate the Free French Forces from those of Vichy France.

In 1947 however, while Governor-General of Indochina, his request to leave the Armed Forces was granted, and he returned to life as a Carmelite, dying at the Priory of Avon in 1964.

More about Admiral d’Argenlieu/Father Louis here, here, and here.

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