New Spain never looked so good as in the 2004 film of Thornton Wilder’s novel The Bridge of San Luis Rey. This is no doubt partly because it wasn’t filmed in New Spain but in Old Spain (specifically in Toledo and Málaga).

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[I came across this piece by Taki whilst trawling through the Cusack archives, and I thought now would be the appropriate time to share it.]

By Taki Theodoracopulos (The Spectator, 22 April 2006)

Do any of you remember a film called The Blue Max? It is about a German flying squadron during the first world war. A working-class German soldier manages to escape trench warfare by joining up with lots of aristocratic Prussian flyers who see jousting in the sky as a form of sport, rather than combat. Eager for fame and glory — 20 confirmed kills earns one the ‘Blue Max’, the highest decoration the Fatherland can bestow — the prole shoots down a defenceless British pilot whose gunner is dead. His squadron leader is appalled. ‘This is not warfare,’ he tells the arriviste. ‘It’s murder.’

I know it’s only a film, and a Hollywood one at that, but jousting in the air was a chivalric endeavour back then, with pilots who crash-landed behind enemy lines being treated as honoured guests before being interned for the duration. The man who embodied all the chivalric virtues was, of course, Manfred von Richthofen, whose family had been ennobled by Frederick the Great in the 1740s. When Baron Richthofen became a fighter pilot in the late summer of 1916, it was still only 13 years since the first flight of Orville Wright. The technique of applying air power to warfare was barely understood. One looped-the-loop, and pilots who managed to shoot down enemy aircraft and survive were regarded as heroes and quickly accumulated chestfuls of medals. When the Red Baron (his plane was painted a dark red, hence the nickname) died on 21 April 1918, the Times for 23 April devoted one third of a column to England’s fallen enemy, remarking that ‘all our airmen concede that Richthofen was a great pilot and a fine fighting man’.

By the time of his death, the Red Baron had notched up 80 victories, a record, with the leading French ace, René Fonck, claiming to have shot down 157 German aircraft, but only 75 being confirmed. (Rather French, that.) Needless to say, the mystery surrounding Richthofen’s death added to his legend. No one knows for sure who shot him down, or even if the bullet which killed him came from the ground. The English who found his body treated it with all the ceremony they would have accorded one of their own. An honour guard escorted the corpse to his own lines and British pilots overflew and dipped their wings. Those were the days. Out of 8 million men of his generation who died in that useless war, Richthofen’s is among the few names which will most likely be remembered by the general public on the 200th anniversary of his death.

His brother Lothar and his cousin Wolfram (who bombed Stalingrad 25 years later, and was one of Hitler’s favourites) flew alongside the baron, establishing a tradition for excellence and gallantry in the Luftwaffe. The second world war saw great heroics by German pilots, starting with Hans Ulrich Rudel, with something like 400 Stalin tanks to his credit, Adolf Galland, Erich Hartmann, who shot down 352 Soviet aircraft in the course of 1,500 missions, and Walter Novotny, with 250 Soviet aircraft in fewer than 450 missions.

My favourite is, of course, Prince Heinrich Sayn-Wittgenstein, whose heroics overshadowed the rest, and whose plane was shot down at the very, very end of the war in Schonhausen, the Bismarck home. Wittgenstein had his crew bail out first but was unconscious when he hit the ground. He had been hit while in the cockpit. By the end of the war he had become such an ace and legend he could do what he pleased. He once flew a combat mission with a raincoat over his dinner jacket. A few days before he had been to Hitler’s headquarters to receive the Oak Leaves to his Knight’s Cross. He told the beautiful Missie Vassiltchikov on the telephone, ‘Ich war bei unserem Liebling’ (I have been to see our darling) and added how surprised he was his handgun had not been removed before he entered ‘the Presence’. Heinrich would have loved to have bumped him off, but by then Germany was ruined and the prince died three days later. Hitler had many heroic pilots grounded towards the end, but Wittgenstein, being noble, was kept flying.

Why am I bringing all this up in the year of Our Lord 2006? As I told you last week, while down in Palm Beach, a friend of mine, Richard Johnson, tied the knot with Sessa von Richthofen, and I flew down a group of friends for three days of non-stop celebrations. The couple exchanged vows on an 80-year-old river boat which plies its trade in the inland waterway which crisscrosses Florida. My speech went down great, but then some ghastly paparazzo by the name of Harry Benson went around complaining about it. Never to me, needless to say, otherwise one more kill would have been added to the Richthofen legend.

Foreign Film Fictively Frames Favorite Fabled Freiherr

Our cunning cousin, the Hun, has cleverly concealed a card up his hunting-jacket sleeve. Just when you thought the continual winging by hand-wringing Germans about their militarist past (or at least the thoroughly shameful parts thereof) would never end, a new film depicts the life of the dashing Manfred Albrecht Freiherr von Richthofen: better known to us as The Red Baron.

“Der Rote Baron” is showing in den deutschen Kinopalästen as we speak, but the motion picture was not actually meant for a German audience: this is but part of the clever ruse. The film was actually made in English and then dubbed back into German by the mostly Allemanic cast.

Having convinced us of their peaceful intentions through more than a half-century of “Guys, we really messed up circa 1933-1945”, the obvious intent is to swamp the English-speaking world with a film depicting the charming gentlemen fighters of the first weltkreig in order to disarm us as they prepare for their dastardly plans.

Why, as we speak, Georg Friedrich von Preussen is polishing his pickelhaube and dusting off his feather cap in preparation for this latest Prussian plot for world domination. While the Western world worried itself sick over global Islamism and the Chinese threat, little did we know that a swelling irredentism was brewing deep within the hearts of every Berliner; a tear developing in the eye at the mere mention of Tsingtao; a soul in mourning for the loss of Tanganyika. How naïve we were not to realize that all those bright young Germans spending their gap year teaching smiling Herero natives in Namibia were actually forward units of intelligence-gatherers yearning for the return of Ketmanshoop and Swakopmund to the Germanic fold.

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Well, the trailer for the film adaptation of Evelyn Waugh’s classic novel “Brideshead Revisited” is out, and the film is slated for a summer release here in the States. (Trailer | Official Site). Waugh fans can but lament that, whereas Waugh said the book was essentially about “the operation of divine grace”, the screenwriter of this adaptation openly admitted that the script “turns God into a villain”.

Rather than being bold and creating a genuine work of cinematic art to match the novel, they’ve decided to take the easy and conformist route and do a God-hating rompy flick. (Because we can’t have too many of those!). A shame, of course, but entirely predictable. Shall we at least have a look at the cast?

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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.

JULIE TAYMOR’S VERSION of Shakespeare’s “Titus Andronicus”, the 1999 film “Titus” (with Anthony Hopkins in the title role), is a rather interesting modern interpretation. It has rather whimsical aspects, such as the ‘SPQR News’ microphone the characters are seen speaking into. The rivals for the imperial throne bedeck their supporters in the colors of Rome’s rival football teams: the red and yellow of Roma for Saturninus and the pale blue and white of Lazio for Bassianus. I especially enjoy the Senators bedecked in old-school white suits making them appear like a convivium of Kentucky colonels. Worth seeing.

QUÉBEC, THAT STRANGE and charming province, is a most intriguing nation. It is where the British, French, and American tendencies clash and combine to form that most peculiar of all American varieties: le Québécois. Of course, since the 1960s Québec has become more French; no, not more French but more like France in that every year it plunges deeper into the depths of self-loathing: that hatred of one’s own tradition and history which has so marked out “the new Europe”. It is a race to assert one’s self by destroying any living connection to one’s past. Un jeu du fou. More’s the pity, as this once-vibrant melting pot of traditions expressed itself in interesting ways.

A splendid display of this Québec can be found in Alfred Hitchcock’s 1953 drama I Confess. The film had been recommended to me often and I finally got around to seeing it tonight. I won’t give away any of the plot, which is a good one, but Hitchcock lives up to his reputation with his excellent framing of the scenes. (Though I must admit, half of it is merely the settings in the Ville de Québec themselves). They include a peek into the Québécois Parliament. Above the Speaker’s dais is displayed not only the Sovereign’s arms, but also a crucifix, exhibiting our loyalties both temporal and spiritual. In the court room you find yet another blend of the Anglo and the French. As you no doubt recall from our handy little map, Quebec is a country with a mixed legal system. Founded as Nouvelle-France it had the civil system derived from the Romans. Captured by the British and later transformed into part of the Canadian Confederation, it has accrued layers of the Common Law so dear to we Anglos. The officials of the court wear British-style robes — the judge even has a tricorn hat — but over the jury looms a large crucifix. English government and French culture tempered by Catholic truth; not a bad mixture.

Anyhow, if you haven’t seen the film yet, here are a few snaps to enjoy until your Hitchcockian thirst is satiated. (more…)

Last night I saw The Hole, a somewhat amusing ‘psychological thriller’ about a bunch of boarding school kids who lock themselves in an old bunker, have a party, then realise they can’t get out, yadda yadda yadda, people die. It was fairly light and worth watching if you’re easily entertained (and I often am). Perhaps the most enjoyable part was a few aerial shots of the Basilica of Saint Gregory the Great, Downside Abbey and School where our own Robert O’Brien will be teaching in the autumn. (The school was given a different name in the film).

Bon Voyage has to be one of the best films I’ve seen ever. A true classic. Cinema at its most magnificent and magnetic. Bon Voyage is entertaining, thrilling, amusing, beautiful, and full of intrigue. Hollywood hasn’t made a film that could even approach its quality in years.

Alright, alright, I’ll admit its a film that appeals especially to me. It is, after all, French, and depicts a period of French history of which I am particularly interested in: the advent of the Vichy regime. But this is no history film. It is certainly not a “romantic comedy” as described on the back of the DVD box. It was a pleasure in every way. Certainly not the usual claptrap you get from Los Angeles designed to appeal to the lowest common denominator. This is a film where all the contributing factors (beautiful women, gunfire, and intrigue) are in proportion.

Well I could go on for ages. Just see it! Rent it, buy it, confiscate it, see it!

The official Bon Voyage website from Sony Pictures Classic.

The entire movie in thirty seconds, re-enacted by bunnies: hilarity!

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