Missed Signals

Image credits: Wikimedia Commons (1, 2, 3), Austro-Hungarian-Army.co.uk

The First World War was an unprecedented catastrophe that shaped our modern world. Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 130th installment in the series.

July 16-18, 1914: Missed Signals

By July 14, 1914, Austria-Hungary had decided to attack Serbia and enlisted the support of her ally Germany, all under a cloak of secrecy meant to keep Europe’s other Great Powers unaware, unprepared, and ultimately uninvolved. But the news leaked thanks to the German ambassador at Rome, Baron Flotow, who hinted what was going on to Italian Foreign Minister San Giuliano on July 11. San Giuliano telegraphed the news to Italy’s ambassadors across Europe, and the message was apparently intercepted by Russian spies, who soon spread the word. In short, the secret plan was no longer secret, at least in elite diplomatic circles, meaning there was still a good chance to avert disaster—but tragically, during this crucial period European diplomats on all sides missed important signals. The cost of their mistakes would be tallied in millions of lives.

Brushing Off the Russians

On July 16, the Russian ambassador to Vienna, Nikolai Shebeko, reported:

Information reaches me that the Austro-Hungarian Government… intends to make certain demands on Belgrade, claiming that there is a connection between the question of the Sarajevo outrage and the Pan-Serb agitation within the confines of the Monarchy. In so doing it reckons on the non-intervention of Russia… It would seem to me desirable that… the Vienna cabinet should be informed how Russia would react…

Sazonov didn’t see Shebeko’s telegram until July 18, when he returned from a brief vacation at his country estate, but he then summoned Austria-Hungary’s ambassador to St. Petersburg, Count Frigyes Szapáry, to warn him Russia could “in no circumstances agree to any blow to Serbia's independence.” However, Austria-Hungary continued to ignore the Russian warnings, instead heeding the advice of Germany, where the German undersecretary for foreign affairs, Arthur Zimmerman (above, left), expressed confidence Russia was bluffing and would ultimately be restrained by France and Britain.

British Omissions

For this to work, however, France and Britain would first have to know what was happening between Austria-Hungary and Russia. This was another area where key signals were missed—especially by the British government, still distracted by the Irish crisis.

On July 16, the British ambassador to Austria-Hungary, Sir Maurice de Bunsen, reported:

I gather that … a kind of indictment is being prepared against the Serbian government for alleged complicity in the conspiracy … and that Austro-Hungarian Government are in no mood to parley with Serbia, but will insist on immediate unconditional compliance, failing which force will be used. Germany is said to be in complete agreement with this procedure.

Two days later, the British ambassador to Russia, Sir George Buchanan, reported that Sazonov warned him, “Anything in the shape of an Austrian ultimatum at Belgrade could not leave Russia indifferent and she might be forced to take some precautionary military measures.”

These reports from British ambassadors clearly showed that Austria-Hungary and Russia were on a collision course. But Prime Minister Asquith and Foreign Secretary Grey (above, second from left) were reluctant as ever to get embroiled in continental affairs, especially when their attention was focused on the Irish issue. In fact Grey didn’t even meet with the Austro-Hungarian ambassador to London, Count Mensdorff, until July 23—when it was already too late.

Meanwhile, from July 15 to 20, French President Raymond Poincaré and Premier René Viviani were at sea aboard the battleship France, headed for a long-planned conference with Tsar Nicholas II and his ministers in St. Petersburg. Although the French leaders weren’t totally incommunicado, long-distance ship-to-shore radio communications were still patchy (even with the benefit of the powerful Eiffel Tower transmitter), so their ability to get news during this period was limited.

Determined Germans

The British weren’t the only ones ignoring their own ambassadors. The German government had a habit of simply not listening to bad news from foreign countries, especially if the country in question happened to be Britain. Even worse, Berlin often withheld information from its ambassador to London, Prince Lichnowsky (above, second from right), who was viewed as an unreliable “Anglophile.” Nonetheless, on July 18 German Foreign Secretary Gottlieb von Jagow sent a long message to Lichnowsky secretly explaining that

Austria… intends now to come to a settlement with Serbia and has conveyed this intention to us… We must see to localizing the conflict between Austria and Serbia. Whether this is possible will depend in the first place on Russia and in the second place on the moderating influence of the other members of the Entente…  at bottom Russia is not now ready to strike. France and England will not want war now.

But Lichnowsky replied that Berlin was too optimistic about localizing the conflict: “Hence the chief thing seems to me that the Austrian demands should be worded in such a manner that with some pressure on Belgrade … they will be acceptable, not in such a manner that they will necessarily lead to war…” His forecast was correct, but the suggestion to soften the ultimatum showed he was still in the dark about the true nature of the plan: Vienna wanted Belgrade to reject the ultimatum, because Vienna wanted war.

Ostrich Austrians

Last but not least, the Austrians themselves were displaying some ostrich-like behavior by sticking their heads in the sand about Italy. Berlin was urging Vienna to cede Austria’s ethnic Italian territories of Trentino and Trieste to get Rome to join them, or at least remain neutral, and cautioned that Italy might join their enemies if they didn’t. But Emperor Franz Josef wasn’t inclined to start dismembering his empire—that was kind of the whole point—and Vienna breezily dismissed a series of Italian warnings conveyed by German diplomats.

On July 16, the German ambassador to Rome, Flotow, reported to Foreign Secretary Jagow in Berlin: “I regard it as hopeless if Austria, in view of the danger, does not pull herself together and realize that if she means to take any territory [from Serbia] she must give Italy compensation. Otherwise Italy will attack her in the rear.” Increasingly alarmed, on July 18 Jagow instructed the German ambassador to Vienna, Tschirschky, to advise the Austrians (again) “that an Austrian attack on Serbia would not only meet with a most unfavorable reception in Italy but would probably encounter direct opposition.”

However, Austro-Hungarian Foreign Minister Berchtold insisted—probably disingenuously—that Austria-Hungary had no territorial ambitions in Serbia, and therefore owed Italy nothing in the way of compensation. He was also receiving more positive reports from the Austro-Hungarian ambassador to Rome, Kajetan von Mérey (who had suffered a nervous breakdown after the assassination of the Archduke, and was only now pulling himself together—above, right). Mérey was sanguine in his message of July 18, admitting Italy would be angry but predicting it wouldn’t come to a fight: thus, “I do not in any sense plead for previous consultations and negotiations with the Italian cabinet.”

In truth, Italian Foreign Minister San Giuliano was also partly to blame. An elder statesman, he treated foreign policy as his personal bailiwick and often made decisions without consulting other members of the Italian government. After learning the basic outlines of the Austrian plan on July 11, he decided to use the mounting crisis to extract territorial concessions from Austria-Hungary, rather than coming right out and telling Vienna to back off, as he had a year before. Even worse, he never informed Prime Minister Salandra (a foreign policy novice) about the July 1913 precedent, so Salandra didn’t realize Italy had the option of telling Austria-Hungary not to go it alone.

Disturbed Serbs

If there was one country that heard the message loud and clear, it was Serbia herself. As early as July 15, the Serbian ambassador to Vienna, Jovan Jovanović, warned Belgrade that Austria-Hungary was preparing something big, and on July 18, Prime Minister Pašić (currently a political “lame duck,” but still technically in charge) ordered Serbia’s army to begin calling up reservists. The same day Slavko Gruić, secretary general of the Serbian foreign ministry, assured the unforgettably named British charge d’affaires in Belgrade, Dayrell Crackanthorpe, that “Serbia would not stand alone. Russia would not remain quiet if Serbia were wantonly attacked… Under present conditions a war between a Great Power and a Balkan state must inevitably … lead to a European conflagration.”

Ordinary Folks Smell Smoke

While diplomats on all sides did their best to project calm, by mid-July even some “ordinary” (albeit particularly perceptive) people were noticing something was afoot. On July 14, the French newspaper Le Figaro noted that newspapers in Austria-Hungary were whipping up public opinion against Serbia, and two days later Mildred Aldrich, an American journalist and author who’d just moved to a small village east of Paris, wrote in a letter to a friend: “Alas! I find that I cannot break myself of reading the newspapers, and reading them eagerly.  It is all the fault of that nasty affair in Servia…  It is a nasty outlook.  We are simply holding our breaths here.”

See the previous installment or all entries.

8 Haunting Horror Movie Gimmicks

Universal Pictures Home Entertainment
Universal Pictures Home Entertainment

In the 1950s and 1960s, horror movies were making studios huge profits on shoestring budgets. But after the market hit horror overload, directors and studios had to be extra creative to get people to flock to theaters. That's when a flood of different gimmicks were introduced at movie theaters across the country to make a film stand out from the crowd. From hypnotists to life insurance policies and free vomit bags, here's a brief history of some of the most memorable horror movie gimmicks.

1. PSYCHO-RAMA // MY WORLD DIES SCREAMING (1958)

In order to truly become a classic, a horror movie can't just work on the surface; it has to get deep inside of your head. That's what Psycho-Rama tried to achieve when it was first conceived for My World Dies Screaming, later renamed Terror in the Haunted House. Psycho-Rama introduced audiences to subliminal imagery in order to let the scares sink in more than any traditional film could.

Skulls, snakes, ghoulish faces, and the word "Death" would all appear onscreen for a fraction of a second—not long enough for an audience member to consciously notice it, but it was enough to get them uneasy. Obviously Psycho-Rama didn't really catch on with the public or the film industry, but horror directors, like William Friedkin in The Exorcist, have since gone on to use this quick imagery technique to enhance their own movies.

2. FRIGHT INSURANCE // MACABRE (1958)

Director William Castle didn't make a name for himself in the film industry by directing cinematic classics; instead, he relied on shock and schlock to help fill movie theater seats. His movies were full of what audiences craved at the time: horror, gore, terror, suspense, and a heaping helping of camp. But his true genius came from marketing—and the gimmicks he brought to every movie, which have since become legendary among horrorphiles.

His most famous stunt was the life insurance policy he purchased for every member of an audience that paid to see Macabre. This was a real policy backed by Lloyd's of London, so if you died of fright in your seat, your family would receive $1000. Now who wouldn't want to roll the dice on that type of deal? Of course, the policy didn't cover anyone with a preexisting medical condition or an audience member who committed suicide during the screening. Lloyd's had to draw the line somewhere, right?

3. HYPNO-VISTA // HORRORS OF THE BLACK MUSEUM (1959)

How do you make your routine horror movie stand out from the crowd? Hypnotize your audience, of course. Thus Hypno-Vista was born. For this gimmick, James Nicholson, president of American International Pictures, suggested that a lecture by a hypnotist, Dr. Emile Franchel, should precede Horrors of the Black Museum, which had a plot focusing on a hypnotizing killer.

For 13 minutes, Dr. Franchel talked to the audience about the science behind hypnotism, before attempting to hypnotize them himself in order to feel more immersed in the story. Nowadays it comes off as overlong and dry, but it was a gimmick that got people into theaters back in 1959. Plus, writer Herman Cohen said that eventually the lecture had to be removed whenever the movie re-aired on TV because it did, in fact, hypnotize some people.

4. NO LATE ADMISSION // PSYCHO (1960)

Though this isn't the most gimmickiest of gimmicks, Alfred Hitchcock's insistence that no audience member be admitted into Psycho once the movie started got a lot of publicity at the time. The Master of Suspense's reasoning is less about drumming up publicity and more about audience satisfaction, though. Because Janet Leigh gets killed so early into the movie, he didn't want people to miss her part and feel misled by the movie's marketing.

This publicity tactic wasn't completely novel, though, as the groundbreaking French horror movie Les Diaboliques (1955) had a similar policy in place. This was at a time when people would simply stroll into movie screenings whenever they wanted, so to see a director—especially one so masterful at the art of publicity—who was adamant about showing up on time was a great way to pique some interest.

5. FRIGHT BREAK // HOMICIDAL (1961)

Another classic William Castle gimmick was the "fright break" he offered to audience members during his 1961 movie, Homicidal. Here, a timer would appear on the screen just as the film was hurtling toward its gruesome climax. Frightened audience members had 45 seconds to leave the theater and still get a full refund on their ticket. There was a catch, though.

Frightened audience members who decided to take the easy way out were shamed into the "coward's corner," which was a yellow cardboard booth supervised by some poor sap theater employee. Then, they were forced to sign a paper reading "I'm a bona-fide coward," before getting their money back. Obviously, at the risk of such humiliation, most people decided to just grit their teeth and experience the horror on the screen instead.

6. THE PUNISHMENT POLL // MR. SARDONICUS (1961)

The most interactive of William Castle's schlocky horror gimmicks put the fate of the film itself into the hands of the audience. Dubbed the "punishment poll," Castle devised a way to let viewers vote on the fate of the characters in the movie Mr. Sardonicus. Upon entering the theater, people were given a card with a picture of a thumb on it that would glow when a special light was placed on it. "Thumbs up" meant that Mr. Sardonicus would be given mercy, and "thumbs down" meant … well, you get the idea.

Apparently audiences never gave ol' Sardonicus the thumbs up, despite Castle's claims that the happier ending was filmed and ready to go. However, no alternative ending has ever surfaced, leaving many to doubt his claims. Chances are, there was only one way out for Mr. Sardonicus.

7. FREE VOMIT BAGS // MARK OF THE DEVIL (1970)

Horror fans are mostly masochists at heart. They don't want to be entertained—they want to be terrified. So when the folks behind 1970's Mark of the Devil gave out free vomit bags to the audience due to the film's grotesque nature, how could any self-respecting horror fan not be intrigued? It wasn't just the bags that the studio was advertising; it also claimed the film was rated V, for violence—and maybe some vomit?

8. DUO-VISION // WICKED, WICKED (1973)

Duo-Vision was hyped as the new storytelling technique in cinema—offering two times the terror for the price of one ticket. Of course Duo-Vision is just fancy marketing lingo for split-screen, meaning audiences see a film from two completely different perspectives side-by-side. In the 1973 horror film Wicked, Wicked, that meant watching the movie from the points of view of both the killer and his victims.

Seems like a perfect concept for the horror genre, right? Well, Duo-Vision wasn't just employed during the movie's most horrific moments; it was used for the movie's entire 95-minute runtime. The technique had been used sparingly in other films—most notably in Brian De Palma's much better film Sisters (1973)—but it had never been implemented to this extent. A little bit of Duo-Vision apparently goes a long way, because it fell out of favor soon after.

John Carpenter May Be Planning a They Live Sequel

Universal Studios Home Video
Universal Studios Home Video

John Carpenter is one of the horror genre's biggest names. The man behind the original Halloween, The Fog, Escape from New York, and The Thing, ​Carpenter has had a long enough career to see many of his most popular creations be remade, including this year's new Halloween film, which features some of the original actors returning to their iconic roles to continue a decades-long story.

But in a recent interview with ​Den of Geek, when Carpenter was questioned about whether his cult classic They Live might he ripe for revisiting, Carpenter teased: "Well, I’m not gonna tell you about that, because it might be closer to reality than you think."

​They Live, which came out in 1988, featured the late professional wrestler 'Rowdy' Roddy Piper in his signature role as a man who finds a pair of sunglasses that allow him to see the true state of the world and uncover an alien invasion. Like so many of Carpenter's other films, it has continued to amass a cult following in the decades since its release—especially among those viewers who understood and appreciated its underlying political metaphor.

Today's highly divisive political climate makes it a perfect time for a sequel/reboot/reimagining of They Live, and it sounds as if Carpenter might agree.

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