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Origins of the Armenian Genocide

Wikimedia Commons
Wikimedia Commons

The First World War was an unprecedented catastrophe that killed millions and set the continent of Europe on the path to further calamity two decades later. But it didn’t come out of nowhere. With the centennial of the outbreak of hostilities coming up in August, Erik Sass will be looking back at the lead-up to the war, when seemingly minor moments of friction accumulated until the situation was ready to explode. He'll be covering those events 100 years after they occurred. This is the 102nd installment in the series. 

February 8, 1914: Origins of the Armenian Genocide

The Armenian Genocide of 1915 to 1917, in which the government of the Ottoman Empire killed approximately 1.5 million Armenians through mass shootings, forced marches (shown above), exposure, and starvation, couldn’t have taken place without the First World War, which radicalized Turkish public opinion and freed the “Young Turks” from the constraints of international law. But the stage for genocide was set on February 8, 1914, when Europe’s Great Powers forced the Turks to accept reforms they viewed as an existential threat.

An ancient ethnic group attested as far back as the sixth century BCE, the Armenians weathered the rise and fall of empires for millennia before the Ottoman Turks finally conquered the multiethnic Caucasus region in the 16th century CE. During the heyday of the Ottoman Empire, the Christian Armenians enjoyed considerable religious freedom and legal autonomy under the Ottoman “millet” system, which allowed religious minority groups to live by their own traditional laws.

But in the 19th century the millet system was undermined by the rise of nationalism, as various Ottoman subject peoples (including Armenians as well as Greeks, Slavs, and Arabs) embraced national identities and began demanding more autonomy, or even independence. The issue was further complicated by the decline of the Ottoman Empire and the encroachment of Europe’s Great Powers—especially Russia, which grabbed large chunks of Turkish territory in the Caucasus over the course of the 19th century, including some of the Armenian lands.

Now divided between the Russian and Ottoman Empires, the Armenians became a pawn in St. Petersburg’s devious gambit to grab even more Turkish territory in eastern Anatolia. Essentially the Russians used the Muslim Turks’ mistreatment of Christian Armenians as an excuse to intervene and assert Russian control over the region—and to move things along they were quite willing to stir up trouble between the Armenians and their Muslim neighbors, including the Kurds, who the Turks often employed as local enforcers (when they weren’t busy rebelling themselves).

This cynical ploy succeeded in turning international opinion against the Turks, who were their own worst enemies anyway. In 1895, clashes between Kurds and Armenians led to massacres that left at least 100,000 Armenians dead; these and subsequent atrocities generated public support for reforms in Europe and America. However the Turks had one (sort of) ally in Germany, which didn’t stand to benefit from the dismemberment of the Ottoman Empire—at least in the near term—and now threw its diplomatic weight behind the Turks, delaying and watering down the proposed reforms.

After years of debate, in early 1914 the Turks (and their German backers) finally agreed to a compromise reform package that included some concessions by Russia: Among other things, the proposed administrative units included more Muslims to dilute Armenian political power, and the Armenians gave up any right to restitution of land previously seized by Kurds. But at the end of the day the Turks were still being forced to grant foreigners sweeping powers over an area they considered part of the Turkish homeland.

Under the terms of the Yeniköy Agreement signed on February 8, 1914 (so-called because it was signed in the Yeniköy district of Constantinople), seven Turkish provinces in eastern Anatolia would be grouped into two new inspectorates, both presided over by a European inspector general with the authority to appoint and dismiss local officials, arrest officials they suspected of criminal misconduct, suspend judges, and render decisions on new land disputes. They were also given command of the police and the military. Meanwhile the Kurdish irregular cavalry units were to be disarmed, even as the Russians continued covertly funneling arms to the Armenians (as part of their double game the Russians had also secretly armed the Kurds before, but never mind).

Unsurprisingly, the Turks viewed the Yeniköy Agreement as the opening move in Russia’s final push to dismantle the Ottoman Empire. And there was plenty of evidence fueling Turkish suspicions: Around this time, Zaven, the Armenian Patriarch of Constantinople, called for “the unification of all Armenia under Russian sovereignty,” adding, “the sooner the Russians arrive here, the better for us.”

Similarly, Konstantin Gulkevich, the Russian charge d’affaires in Constantinople who signed the Yeniköy Agreement for Russia, reported to Russian foreign minister Sergei Sazonov that the Yeniköy Agreement “signifies without doubt the opening of a new and happier era in the history of the Armenian people … The Armenians must feel that the first step has been taken towards releasing them from the Turkish yoke.” Furthermore, “the outstanding role of Russia in the Armenian question is thus officially emphasized… This circumstance will certainly not fail to exert a most favorable influence on the international status of Russia, and to place a halo on the head of her sovereign in the eyes of the Christians of the Near East.”

The Young Turk junta in Constantinople desperately looked for ways to stem the rising Russian tide; one member of the ruling triumvirate, Djemal Pasha, recalled simply, “We wanted to tear up that Agreement.” But there was nothing they could do in the face of the united front presented by Europe’s Great Powers—unless, that is, the situation were suddenly changed by some unexpected event, some great upheaval that would allow them to cancel the reforms and redraw the map on their own terms, with their own methods.

See the previous installment or all entries

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25 Wonderful Facts About It’s a Wonderful Life
Paramount Pictures
Paramount Pictures

Mary Owen wasn’t welcomed into the world until more than a decade after Frank Capra’s It’s a Wonderful Life made its premiere in 1946. But she grew up cherishing the film and getting the inside scoop on its making from its star, Donna Reed—who just so happens to be her mom. Though Reed passed away in 1986, Owen has stood as one of the film’s most dedicated historians, regularly introducing screenings of the ultimate holiday classic, including during its annual run at New York City’s IFC Center. She shared some of her mom’s memories with us to help reveal 25 things you might not have known about It’s a Wonderful Life.

1. IT ALL BEGAN WITH A CHRISTMAS CARD.

After years of unsuccessfully trying to shop his short story, The Greatest Gift, to publishers, Philip Van Doren Stern decided to give the gift of words to his closest friends for the holidays when he printed up 200 copies of the story and sent them out as a 21-page Christmas card. David Hempstead, a producer at RKO Pictures, ended up getting a hold of it, and purchased the movie rights for $10,000.

2. CARY GRANT WAS SET TO STAR IN THE ADAPTATION.

When RKO purchased the rights, they did so with the plan of having Cary Grant in the lead. But, as happens so often in Hollywood, the project went through some ups and downs in the development process. In 1945, after a number of rewrites, RKO sold the movie rights to Frank Capra, who quickly recruited Jimmy Stewart to play George Bailey.

3. DOROTHY PARKER WORKED ON THE SCRIPT.


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By the time It’s a Wonderful Life made it into theaters, the story was much different from Stern’s original tale. That’s because more than a half-dozen people contributed to the screenplay, including some of the most acclaimed writers of the time—Dorothy Parker, Dalton Trumbo, Marc Connelly, and Clifford Odets among them.

4. SCREENWRITERS FRANCES GOODRICH AND ALBERT HACKETT WALKED OUT.

Though they’re credited as the film’s screenwriters with Capra, the husband and wife writing duo were not pleased with the treatment they received from Capra. “Frank Capra could be condescending,” Hackett said in an interview, “and you just didn't address Frances as ‘my dear woman.’ When we were pretty far along in the script but not done, our agent called and said, ‘Capra wants to know how soon you'll be finished.’ Frances said, ‘We're finished right now.’ We put our pens down and never went back to it.”

5. CAPRA DIDN’T DO THE BEST JOB OF SELLING THE FILM TO STEWART.

After laying out the plot line of the film for Stewart in a meeting, Capra realized that, “This really doesn’t sound so good, does it?” Stewart recalled in an interview. Stewart’s reply? “Frank: If you want me to be in a picture about a guy that wants to kill himself and an angel comes down named Clarence who can’t swim and I save him, when do we start?”

6. IT WAS DONNA REED’S FIRST STARRING ROLE.


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Though Donna Reed was hardly a newcomer when It’s a Wonderful Life rolled around, having appeared in nearly 20 projects previously, the film did mark her first starring role. It’s difficult to imagine anyone else in the role today, but Reed had some serious competition from Jean Arthur. “[Frank Capra] had seen mom in They Were Expendable and liked her,” Mary Owen told Mental Floss. “When Capra met my mother at MGM, he knew she'd be just right for Mary Bailey.”

7. MARY OWEN IS NOT NAMED AFTER MARY BAILEY.

Before you ask whether Owen was named after her mom’s much beloved It’s a Wonderful Life character, “The answer is no,” says Owen. “I was named after my great grandmother, Mary Mullenger.”

8. BEULAH BONDI WAS A PRO AT PLAYING STEWART’S MOM.

Beulah Bondi, who plays Mrs. Bailey, didn’t need a lot of rehearsal to play Jimmy Stewart’s mom. She had done it three times previously—in Mr. Smith Goes to Washington, Of Human Hearts, and Vivacious Lady—and once later on The Jimmy Stewart Show: The Identity Crisis.

9. CAPRA, REED, AND STEWART HAVE ALL CALLED IT’S A WONDERFUL LIFE THEIR FAVORITE MOVIE.


Liberty Films

Though their collective filmographies consist of a couple hundred movies, Capra, Reed, and Stewart have all cited It’s a Wonderful Life as their favorite movie. In his autobiography, The Name Above the Title, Capra took that praise even one step further, writing: “I thought it was the greatest film I ever made. Better yet, I thought it was the greatest film anybody ever made.”

10. THE MOVIE BOMBED AT THE BOX OFFICE.

Though it has become a quintessential American classic, It’s a Wonderful Life was not an immediate hit with audiences. In fact, it put Capra $525,000 in the hole, which left him scrambling to finance his production company’s next picture, State of the Union.

11. A COPYRIGHT LAPSE AIDED THE FILM’S POPULARITY.

Though it didn’t make much of a dent at the box office, It’s a Wonderful Life found a whole new life on television—particularly when its copyright lapsed in 1974, making it available royalty-free to anyone who wanted to show it for the next 20 years. (Which would explain why it was on television all the time during the holiday season.) The free-for-all ended in 1994.

12. THE ROCK THAT BROKE THE WINDOW OF THE GRANVILLE HOUSE WAS ALL REAL.


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Though Capra had a stuntman at the ready in order to shoot out the window of the Granville House in a scene that required Donna Reed to throw a rock through it, it was all a waste of money. “Mom threw the rock herself that broke the window in the Granville House,” Owen says. “On the first try.”

13. IT TOOK TWO MONTHS TO BUILD BEDFORD FALLS.

Shot on a budget of $3.7 million (which was a lot by mid-1940s standards), Bedford Falls—which covered a full four acres of RKO’s Encino Ranch—was one of the most elaborate movie sets ever built up to that time, with 75 stores and buildings, 20 fully-grown oak trees, factories, residential areas, and a 300-yard-long Main Street.

14. SENECA FALLS, NEW YORK IS “THE REAL BEDFORD FALLS.”

Though Bedford Falls is a fictitious place, the town of Seneca Falls, New York swears that it's the real-life inspiration for George Bailey’s charming hometown. And each year they program a full lineup of holiday-themed events to put locals (and yuletide visitors) into the holiday spirit.

15. THE GYM FLOOR-TURNED-SWIMMING POOL WAS REAL.

Though the bulk of the film was filmed on pre-built sets, the dance at the gym was filmed on location at Beverly Hills High School. And the retractable floor was no set piece. Better known as the Swim Gym, the school is currently in the process of restoring the landmark filming location.

16. ALFALFA IS THE TEENAGER BEHIND THAT SWIMMING POOL PRANK.

Though he’s uncredited in the part, if Freddie Othello—the little prankster who pushes the button that opens the pool that swallows George and Mary up—looks familiar, that’s because he is played by Carl Switzer, a.k.a. Alfalfa of The Little Rascals.

17. DONNA REED WON $50 FROM LIONEL BARRYMORE ... FOR MILKING A COW.

Though she was a Hollywood icon, Donna Reed—born Donnabelle Mullenger—was a farm girl at heart who came to Los Angeles by way of Denison, Iowa. Lionel Barrymore (a.k.a. Mr. Potter) didn’t believe it. “So he bet $50 that she couldn't milk a cow,” recalls Owen. “She said it was the easiest $50 she ever made.”

18. THE FILM WAS SHOT DURING A HEAT WAVE.

It may be an iconic Christmas movie, but It’s a Wonderful Life was actually shot in the summer of 1946—in the midst of a heat wave, no less. At one point, Capra had to shut filming down for a day because of the sky-high temperatures—which also explains why Stewart is clearly sweating in key moments of the film.

19. CAPRA ENGINEERED A NEW KIND OF MOVIE SNOW.

Capra—who trained as an engineer—and special effects supervisor Russell Shearman engineered a new type of artificial snow for the film. At the time, painted cornflakes were the most common form of fake snow, but they posed a bit of an audio problem for Capra. So he and Shearman opted to mix foamite (the stuff you find in fire extinguishers) with sugar and water to create a less noisy option.

20. THE MOVIE WASN’T REQUIRED VIEWING IN REED’S HOUSEHOLD.

Though It’s a Wonderful Life is a staple of many family holiday movie marathons, that wasn’t the case in Reed’s home. In fact, Owen herself didn’t see the film until three decades after its release. “I saw it in the late 1970s at the Nuart Theatre in L.A. and loved it,” she says.

21. ZUZU DIDN’T SEE THE FILM UNTIL 1980.

Karolyn Grimes, who played Zuzu in the film, didn’t see the film until 1980. “I never took the time to see the movie,” she told Detroit’s WWJ in 2013. “I never just sat down and watched the film.”

22. THE FBI SAW THE FILM. THEY DIDN’T LIKE IT.

In 1947, the FBI issued a memo noting the film as a potential “Communist infiltration of the motion picture industry,” citing its “rather obvious attempts to discredit bankers by casting Lionel Barrymore as a ‘Scrooge-type’ so that he would be the most hated man in the picture. This, according to these sources, is a common trick used by Communists.”

23. THE MOVIE’S BERT AND ERNIE HAVE NO RELATION TO SESAME STREET.

Yes, the cop and cab driver in It’s a Wonderful Life are named Bert and Ernie, respectively. But Jim Henson’s longtime writing partner, Jerry Juhl, insists that it’s by coincidence only that they share their names with Sesame Street’s stripe-shirted buds. “I was the head writer for the Muppets for 36 years and one of the original writers on Sesame Street,” Juhl told the San Francisco Chronicle in 2000. “The rumor about It's a Wonderful Life has persisted over the years. I was not present at the naming, but I was always positive [the rumor] was incorrect. Despite his many talents, Jim had no memory for details like this. He knew the movie, of course, but would not have remembered the cop and the cab driver. I was not able to confirm this with Jim before he died, but shortly thereafter I spoke to Jon Stone, Sesame Street's first producer and head writer and a man largely responsible for the show's format … He assured me that Ernie and Bert were named one day when he and Jim were studying the prototype puppets. They decided that one of them looked like an Ernie, and the other one looked like a Bert. The movie character names are purely coincidental.”

24. SOME PEOPLE ARE ANXIOUS FOR A SEQUEL.

Well, two people: Producers Allen J. Schwalb and Bob Farnsworth, who announced in 2013 that they would be continuing the story with a sequel, It’s a Wonderful Life: The Rest of the Story, which they planned for a 2015 release. It didn’t take long for Paramount, which owns the copyright, to step in and assure furious fans of the original film that “No project relating to It’s a Wonderful Life can proceed without a license from Paramount. To date, these individuals have not obtained any of the necessary rights, and we would take all appropriate steps to protect those rights.”

25. THE FILM’S ENDURING LEGACY WAS SURPRISING TO CAPRA.

“It’s the damnedest thing I’ve ever seen," Capra said of the film’s classic status. "The film has a life of its own now and I can look at it like I had nothing to do with it. I’m like a parent whose kid grows up to be president. I’m proud… but it’s the kid who did the work. I didn’t even think of it as a Christmas story when I first ran across it. I just liked the idea.”

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Listen to What Darth Vader Sounded Like On the Star Wars Set
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.
Star Wars © & TM 2015 Lucasfilm Ltd. All Rights Reserved.

The voice of Darth Vader, provided by James Earl Jones, is one of the most iconic aspects of the original Star Wars movies. But James Earl Jones wasn't the actor wearing that outfit—it was British actor David Prowse, who was cast in part because he was huge (reportedly 6'5" and a former body-building champion).

George Lucas always intended to replace Prowse's voice, but it's still a bit of a shock to hear a muffled British voice coming out of Darth Vader's helmet. Here's video showing what Darth Vader sounded like on the set before James Earl Jones re-recorded the dialogue.

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