The Miracle on the Marne

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 142nd installment in the series.

September 5-12, 1914: The Miracle on the Marne

The First Battle of the Marne was the first major turning point in the war on the Western Front—the moment at which the German tide, rising relentlessly in the first weeks of the war with the conquest of Belgium and northern France, finally crested and broke, with the Germans forced into hasty retreat. There’s no question the “Miracle on the Marne” saved France and the Allied causebut neither it nor the dramatic battles which followed in the fall of 1914 were truly decisive, as they left the Germans in control of Belgium and most of France’s industrial resources, foreshadowing a long, drawn-out conflict.

The End of the Great Retreat

As French chief of the general staff Joseph Joffre’s Plan XVII met with resounding defeat at the hands of the German left wing and center in the Battle of the Frontiers, the German right wing, consisting of the First, Second, and Third Armies, surged through Belgium, occupying the capital Brussels on August 20 and the key fortress city of Namur on August 25. From August 21 to 23, the German right wing slammed into the French Fifth Army and British Expeditionary Force at Charleroi and Mons, sending the vastly outnumbered Allies reeling back into northern France (but paying a steep price for these gains).

This was the beginning of the Great Retreat—two excruciating weeks from August 24 to September 5 when French and British troops fell back 150 miles in front of the onrushing Germans, through forced marches punctuated by desperate rearguard actions by the BEF at Le Cateau on August 26 and the French Fifth Army at St. Quentin-Guise on August 29. As the supply system broke down, the retreat became one unending nightmare of hunger, exhaustion, heat, and dust. Private Frank Richards of the Royal Welsh Fusiliers recalled: “Bread we never saw; a man’s daily rations were four army biscuits, a pound tin of bully beef and a small portion of tea and sugar… We never knew what it was to have our equipment off and even at night when we sometimes got down in a field for an all-night’s rest were not allowed to take it off.” Christian de Mallet, a French cavalry trooper, described similar conditions: “The heat was suffocating. The exhausted men, covered with a layer of black dust adherent from sweat, looked like devils… The air was burning; thirst was intolerable, and there was no possibility of procuring a drop of water.”

With the retreating armies came hordes of terrified refugees seeking safety to the south, many heading for Paris. Charles Inman Barnard described the scene in the French capital: “I saw a train pull slowly into the Gare du Nord laden with about fifteen hundred peasants—old men, women, children—encumbered with bags, boxes, bundles, fowls, and provisions of various kinds. The station is strewn with straw, on which country folk fleeing from the Germans are soundly sleeping for the first time in many days.”

While some refugees arrived, many more were leaving, as thousands of Parisians fled the French capital for the countryside. On September 1 an attaché with the American embassy in Paris, Eric Fisher Wood, wrote in his diary:

Panic conditions of the most pronounced order exist today. Everyone seems possessed with the single idea of escaping from Paris. A million people must be madly trying to leave at the present moment. There are runs on all the banks. The streets are crowded with hurrying people whose faces wear expressions of nervous fright. The railroad stations are packed with tightly jammed mobs in which people and luggage form one inextricable, suffocating, hopeless jumble.

The French government itself packed up and headed for Bordeaux on September 2, and that same day the Paris stock exchange closed and the Bank of France also moved all its key assets to Bordeaux, including gold reserves of around four billion francs, or $800 million in contemporary dollars. The new military governor of Paris, General Joseph Gallieni, ordered military engineers to work round the clock to complete entrenchments and other fortifications around the capital—but the city itself was eerily deserted. An American journalist, Frederick Palmer, described the strange sights of Paris dark and abandoned:

You might walk the length of the Champs Elysees without meeting a vehicle or more than two or three pedestrians. The avenues were all your own… The moonlight threw the Arc de Triomphe in exaggerated spectral relief, sprinkled the leaves of the long rows of trees, glistened on the upsweep of the broad pavements, gleamed on the Seine. Paris was majestic…

And still the retreat continued, amid bitter recriminations between French and British commanders over failures, both imagined and real, on both sides of the troubled alliance. Field Marshal Sir John French, the commander of the BEF, blamed the French for withdrawing without warning during the battles of Mons and Charleroi, and repeatedly (some might say petulantly) refused to slow the BEF’s withdrawal or coordinate its movements with the neighboring French Fifth and Sixth Armies—which in turn enraged French chief of staff Joseph Joffre, who also criticized French’s decision to evacuate the main British base at Le Havre as hasty and needlessly demoralizing. To be fair, by this point even one of French’s own commanders, Douglas Haig, thought he was “quite unfit for high command in time of crisis.”

If there was a silver lining in all this, it was the fact that as the Allied armies retreated their pursuers were forced to make the same exhausting round-the-clock marches, and German troops were also on the point of collapse. On September 2, an officer in the German First Army confided in his diary that “Our men are done up,” and Julius Koettgen, a German infantryman, recalled growing discontent in the ranks:

We had to march on and on. The captain told us we had been ordered to press the fleeing enemy as hard as possible. He was answered by a disapproving murmur from the whole section. For long days and nights we had been on our legs, had murdered like savages, had had neither opportunity nor possibility to eat or rest, and now they asked us worn-out men to conduct an obstinate pursuit.

Meanwhile the German generals were just as fractious as the Allied commanders. Alexander von Kluck, the commander of the German First Army, disdained Karl von Bülow, commander of the Second Army, as a washed up old man and resented his repeated requests for protection against threats to Second Army’s right flank. For his part Bülow viewed Kluck as a selfish, overly ambitious, unreliable prima donna. Max von Hausen, commander of the Third Army, was a Saxon who disliked both Kluck and Bülow as stereotypical Prussian martinets. Furthermore none of them felt particularly obliged to heed instructions from chief of general staff Helmuth von Moltke, viewed as out of touch with the situation back at headquarters in Luxembourg. Poor communications between armies on the move only served to exacerbate their disagreements.

On September 2, von Kluck disregarded an order from Moltke to fall back to protect Second Army’s flank, instead deciding to drop First Army’s pursuit of the fleeing BEF and head southeast in hopes of finishing off the French Fifth Army, which had barely escaped destruction by the German Second Army twice in recent weeks. By the evening of September 3 the First Army had arrived at the River Marne, and Captain Walter Bloem described the scene of incongruous beauty which greeted German troops: “The sun was beginning to set, when suddenly, spread out at our feet, was a picture of indescribable loveliness: the valley of the Marne… The sun had sunk into a misty haze of deepest gold. The whole valley, steeped in the perfect stillness of a summer evening, shimmered in the golden light. Could this be war?” But there was also a growing sense of unease in the exhausted German ranks:

To any of us who had not yet noticed it, the events of the past days must have shown how increasingly unpleasant the situation was becoming. We had, indeed, achieved marvels, driving the enemy out of the whole of Belgium and a great part of Northern France, nevertheless we ourselves were getting farther and farther away from home with ever-lengthening communications, while more and more enemy were now appearing on our front…

Indeed, following the defeats of August the unflappable Joffre made expert use of the French railways and dense road network around Paris to transfer thousands of troops from the eastern frontier with Germany to form the new Sixth Army under Michel-Joseph Maunoury north of Paris, while also cobbling together a new Ninth Army under the aggressive Ferdinand Foch with troops drawn from the retreating Third and Fourth Armies – in effect adding two new pieces to the chess board. Meanwhile Joffre, never shy about firing subordinates he considered ineffective, also replaced the pessimistic head of Fifth Army, Charles Lanrezac, with one of his own corps commanders, Franchet d’Esperey (the hero of Charleroi, called “Desperate Frankie” by British colleagues who had a nickname for everyone).

Thanks to Joffre’s rapid redeployment of troops, by the time the Germans arrived at the Marne the combined strength of the Allied forces facing them—composed, from east to west, of the French Third, Fourth, Ninth, and Fifth Armies along the Marne, the British Expeditionary Force near Melun, and the French Sixth Army guarding Paris—numbered over one million men, including 980,000 French and 70,000 British troops. The depleted German forces, consisting of the First through Fifth Armies, numbered just 850,000.

There was still one problem, as the BEF continued its headlong retreat and Sir John French bluntly informed Joffre on August 30 that the British wouldn’t be ready to fight for at least ten days, driving the French commander to despair. But the situation was finally remedied by some inter-Allied diplomacy: President Poincaré politely asked the British government to get their commander in line, and on September 1 Secretary of State for War Kitchener paid a personal visit to France, meeting French at the British Embassy in Paris, where he issued written orders to the stubborn Field Marshal. When the time came (and with a little more persuasion) the British would fight.

The Allies were also aided by continuing dissension among the German commanders. On September 3 von Kluck again disregarded a directive from Moltke and ordered First Army to cross the Marne ahead of Bülow’s Second Army—quite literally “ahead,” as First Army’s advance would cut southeast across Second Army’s line of march, forcing Bülow to halt for several days. As he chased the elusive French Fifth Army Kluck left just one army corps, under Hans von Gronau, to screen Paris to the west, unaware of the new French Sixth Army forming there. Then, on September 4, von Hausen decided, inexplicably, to let Third Army rest the following day, leaving it a full day’s march behind its neighbors and missing a chance to drive between Foch’s Ninth Army and the French Fourth Army under Langle de Cary.

Crucially, these decisions by von Kluck and Hausen both clashed with Moltke’s latest directive issued on the evening of September 4. German pilots flying reconnaissance missions had spotted columns of French troops heading north from Paris, reinforcing the new Sixth Army; Moltke, finally seeing the danger to the German right flank, ordered First and Second Armies to halt and assume defensive positions, while Third, Fourth and Fifth Armies would drive forward against the French center, weakened by Joffre’s redeployments. But the order arrived too late.

The Battle of the Marne

In the first days of September Joffre and Gallieni received a series of reports confirming that the German First Army was proceeding southeast, past Paris, in pursuit of the French Fifth Army, leaving its right flank open to attack by the new French Sixth Army. On the evening of September 4, d’Esperey said that despite its recent defeats Fifth Army was ready to attack, and Joffre decided that the time had finally come to stop retreating and take the offensive. The next day, September 5, Joffre visited Sir John French and after a melodramatic speech—concluding “the honour of England is at stake!”—secured a promise that the BEF would join the French counterattack (below, British cavalry advance to the Marne). The attack, Joffre said, would begin September 6.

In fact, it was already underway. On the morning of September 5, the French Sixth Army under Maunoury began marching east in preparation for the general attack planned for the following day—and shortly before noon ran smack into the German IV Reserve Corps under Hans von Gronau, left by von Kluck to guard his right flank along the River Ourcq, a northern tributary of the Marne. An incredibly violent but inconclusive clash ensued, as Gronau’s force of 22,800 men fought desperately to hold off Maunoury’s 150,000. German field artillery inflicted heavy losses, but the gun crews paid a heavy price as the deadly French 75-mm field pieces responded in kind.

At the end of the day, Gronau held his ground on a ridge above the Ourcq—but more importantly, the battle alerted von Kluck to the danger on his right flank, giving him an opportunity to rush reinforcements to face the French Sixth Army (where Moltke and Bülow had wanted them all along). Around midnight of September 5 he ordered two army corps located along the Grand Morin, a southern tributary of the Marne, to march northwest to a position near the town of Meaux on the Marne—beginning to open a gap in the German lines.

Beginning on the morning of September 6, the two army corps withdrawn by Kluck marched north all day to reinforce the single corps facing the French Sixth Army along the Ourcq, where they helped hold off the French for a second day amid fierce fighting that devastated the area around Meaux. According to Bloem, ordinary German soldiers understood that the change in direction was bad news:

The sun blazed down on us, the heat intensely oppressive, and perhaps even more oppressive the thought of a terrible, hideous possibility. Forwards, forwards, was the order; but weren’t we actually going just a little backwards!... To the north… a battle was being fought. The realization of all that this meant was enough to stagger the most courageous heart.

Meanwhile Mildred Aldrich, a retired American authoress living in a small village east of Paris, saw part of the Battle of the Ourcq on September 6, including the destruction of numerous small villages caught in the crossfire:

The sun was setting. For two hours we saw [the shells] rise, descend, explode. Then a little smoke would rise from one hamlet, then from another; then a tiny flame – hardly more than a spark – would be visible; and by dark the whole plain was on fire… There were long lines of grain stacks and mills stretching along the plain. One by one they took fire, until, by ten o'clock, they stood like a procession of huge torches across my beloved panorama.

Elsewhere on September 6, to the south the BEF and French Fifth Army under d’Esperey were advancing against the two remaining German corps holding the junction between First and Second Army along the Grand Morin and Petit Morin, two southern tributaries of the Marne, and to the east the French Ninth Army under Foch fell back before a fierce offensive by the German Second Army under Bülow across the headwaters of the Petit Morin in the Marshes of St. Gond (an unusual battlefield as the marshes, measuring about two miles wide by 12 miles long, could only be crossed via four relatively narrow causeways).

In short the Battle of the Marne was actually three separate but interrelated battles—one on the Ourcq, one on the “Deux Morins,” and one on the Marshes of St. Gond. While a German breakthrough in any of these places could easily have spelled disaster for France, the strategic pivot of the battle was always the confrontation on the Ourcq, where the German First Army posed a direct threat to Paris and the French Sixth Army, conversely, threatened to roll up the German right wing.

On September 7, von Kluck gambled everything on a decisive victory over French Sixth Army. After receiving reports that the BEF was advancing slowly toward the gap between First and Second Armies, shortly before noon he ordered two more corps to march north for an all-out attack on Sixth Army, in the hopes of crushing the French before the British were close enough to threaten the junction with Bülow’s Second Army.

Unfortunately for the Germans, von Kluck didn’t realize that the previous night Bülow had already ordered these corps (which Second Army currently shared First Army) to fall back along with his own right wing, as part his own effort to crush Foch’s Ninth Army on the St. Gond Marshes with assistance from Hausen’s Third Army. In other words the generals were pursuing two separate, conflicting plans, and Kluck’s order now superseded Bülow’s, so the two corps continued to their new destination. The result of these near-simultaneous moves, which both generals failed to communicate to each other, was a 30-mile gap in the German lines. In the days to come this gap would be their undoing.

In the near term, however, von Kluck’s gamble almost paid off: amid fierce fighting all along the Marne, on September 7 First Army sent Maunoury’s cavalry reeling back, and the situation looked grim for the Allies. Thus, Joffre and Gallieni focused all their efforts on strengthening Sixth Army on the Ourcq to defend against First Army’s attacks.

This was the origin of the famous “taxis of the Marne” episode of September 7 and 8, when Gallieni commandeered around 600 Parisian taxis to rush reinforcements from Paris north to Sixth Army. This round-the-clock operation, carried out amid chaotic conditions over roads clogged with troops and supplies, managed to deliver perhaps 3000 troops to bolster Sixth Army’s northern flank. Recently some historians have questioned the true effectiveness and importance of the taxis to the outcome of the battle, as most of the reinforcements were actually delivered by train or truck, but the taxi-lift entered the mythology of the Marne as a symbol of civic participation and French fighting spirit.

For ordinary soldiers, the situation on the ground remained confused, to say the least. Paul Tuffrau, a French junio officer, described the chaotic fighting near the village of Barcy, north of Meaux:

I pick up a dead man’s weapon, slip on a cartridge belt and join the advancing troop – it is rather scattered and pushing forward in every direction, urged on by the bugles. What’s that I’m stepping on? The dead and wounded, friends and foes. Bullets fly past, then the brutal blast of artillery fire right in front of us. The charge tatters, stops… All around, behind piles of grain, men are lying down, shooting or just waiting. Through the haze, you can just make out the rise of a hillside. Is that the Marne?

As September 7 drew to a close, the scene along the Marne was apocalyptic. Wilson McNair described the destruction near Meaux, which

was lying almost in ruins, with the great shells lashing their hail of destruction upon its roofs and gardens. The green fields and the orchards near the river bank, where the fighting was fierce all day, are still at evening, but the orchards are strewn with dead, German dead and French dead lying side by side under the sky, their faces lit up by the far glow of the burning villages. What a scene truly of horror and wonder!

The Turning Point: September 8-9

After several days of fierce but inconclusive fighting from September 5 to 7, the turning point came on September 8-9 – but at first fortune seemed to favor the Germans.

Along the Ourcq the French Sixth Army renewed its attack on the German First Army’s right wing on September 8, but failed to make progress, while the Germans pushed back in the center, forcing Maunoury to fall back to defensive positions. To the east Hausen’s German Third Army, finally in place after its delayed arrival the day before, launched a surprise attack on the French Ninth Army across the Marshes of St. Gond, forcing back Foch’s right wing and inflicting heavy losses.

But the real action was taking place at the Deux Morins, where Franchet d’Esperey’s Fifth Army pushed back the right flank of Bülow’s Second Army, making it basically impossible for the Germans to close the 30-mile gap created the day before by Bülow and Kluck’s uncoordinated, conflicting moves. Even worse, after an embarrassing delay the BEF was finally on the scene, pushing ahead into the gap to the west of the French Fifth Army. Meeting no resistance, the British cautiously pushed forward over recently abandoned German positions along the two Morins, and reached the southern bank of the Marne by the evening of September 8.

The French Fifth Army’s success and the arrival of the BEF at the Marne threatened to completely unravel the German line, opening von Kluck’s First Army to attack from the rear. Back at the German headquarters in Luxembourg, Helmuth von Moltke, panicked and apparently suffered a nervous breakdown, losing his grip on events. His subordinates, now in crisis management mode, began to take over, and in the early morning of September 9 they dispatched a general staff officer, Lieutenant Colonel Richard Hentsch, to tour the front, make an appraisal of the situation, and order a retreat if necessary.

The situation was dire: at Second Army headquarters, Bülow said his exhausted troops had been reduced to “cinders” by three days of hard fighting following weeks of forced marches, and laid the blame on Kluck for failing to protect his flank and generally keeping him in the dark about First Army’s movements. Although no records of the meeting were kept, it seems that Bülow and Hentsch together decided the time had come to make a strategic withdrawal (a move that was later harshly criticized by von Kluck, who at that point believed he was close to turning the flank of the French Sixth Army).

Over the next few days, from September 9 to 12, the German armies retreated in a not-so-orderly to the Aisne River, about 30 miles north of the Marne. For the exhausted and demoralized troops, it was a pilgrimage to despair. Julius Koettgen described the events of these days:

The roads became ever more densely crowded with retreating troops and trains; from all sides they came and wanted to use the main road that was also being used by us… Munition wagons raced past us, singly, without any organization. Order was no longer observed. Canteen and baggage wagons went past, and already a wild confusion arose… Night came upon us and it poured again in torrents. We lay on the ground and felt very cold. Our tired bodies no longer gave out any heat.

Meanwhile, the Allied troops who pursued them north encountered scenes of shocking carnage and devastation. Charles Inman Barnard recalled:

We came near to the villages… along the road from Meaux to Soissons… and found that the trenches dug by the Germans were filled with human corpses in thick, serried masses. Quicklime and straw had been thrown over them by the ton. Piles of bodies of men and of horses had been partially cremated in the most rudimentary fashion. The country seemed to be one endless charnel-house. The stench of the dead was appalling.

An anonymous British junior officer remembered “Whole trains of motor lorries that had been hastily burned and left by the roadside, and all sorts of vehicles with broken wheels,” and also noted that the Germans had looted all the wine and spirits they could lay their hands on, stealing from elegant chateaux and peasant dwellings alike: “The litter of bottles was appalling. There was a perfect wall of them for about a quarter of a mile.” Barnard echoed this description: “How thirsty the Germans were! The roads and fields and trenches were strewn with bottles, full or half-empty.”

When the Germans reached the Aisne they established advantageous positions on hills overlooking the river, and dug in with machine guns and heavy artillery, and the French and British soon did the same. Koettgen remembered the scene at dawn on September 11:

Slowly the mist began to disappear, and now we observed the French occupying positions some hundred yards in front of us. They had made themselves new positions during the night exactly as we had done. Immediately firing became lively on both sides. Our opponent left his trench and attempted an attack, but our great mass of machine guns literally mowed down his ranks… The French renewed their attack again and again, and when at noon we had beaten back eight assaults of that kind hundreds upon hundreds of dead Frenchmen were covering the ground between our trenches and theirs.

Trench warfare had begun.

See the previous installment or all entries.

13 Delicious Facts About Hannibal

Brooke Palmer, NBCUniversal Media
Brooke Palmer, NBCUniversal Media

In 2013, producer Martha De Laurentiis, writer Bryan Fuller, and a talented cast and crew set about crafting a new version of the Hannibal Lecter story. It was a daring proposition after the character and his world had been so clearly defined by Sir Anthony Hopkins’s portrayal of the character and Hannibal’s presence in four novels and five feature films, but Fuller had an idea no one else had approached yet. He wanted to tell the story of the cannibal psychiatrist and the empathetic profiler who ultimately caught him as the story of two lives linked by mutual insanity. Audiences could not have seen it coming, but what they got was one of the most stylish, visually arresting, and psychologically complex horror shows to ever hit television.

Hannibal only lasted three seasons, but in its short time on the air it amassed loads of critical acclaim and a ravenous fan base known as “Fannibals,” many of whom are still holding out hope for the show’s return. With the show’s influence and impact still fresh in our imaginations more than five years after it made its debut, here are 13 facts about the making of Hannibal.

1. BRYAN FULLER GOT THE JOB BECAUSE OF A FATEFUL PLANE RIDE.

Bryan Fuller is a lifelong fan of horror, and a longtime fan of Thomas Harris’s Hannibal Lecter novels, but he did not set out to snag the Hannibal job. In fact, he wasn’t even necessarily aware of the job until it found him, on a flight to New York City where he happened to be seated near an old friend: Katie O’Connell, who was the then-new CEO of the Gaumont Film Company’s U.S. television division. O’Connell told Fuller she was developing a Hannibal series, and asked him if he thought there was a show there—not to offer him the job, but just to get his feedback. In response, Fuller asked if Gaumont had the rights to Will Graham, the protagonist of Harris’s novel Red Dragon, because he was fascinated by one line in that novel that signified a much deeper relationship between Graham and Lecter that audiences and readers had never quite seen.

“Because I had read the books, I knew how much more psychologically complex Will Graham is in the literature than he is in the film. I thought, Wow, there’s a great opportunity to deliver on that line from Red Dragon that Hannibal Lecter says, which is, ‘You caught me because you’re as insane as I am.’ There’s a whole world in that explores their friendship,” Fuller said. “If we are dealing with the Hannibal Lecter who’s a practicing psychiatrist and a practicing cannibal, then he’s out in the open amongst us, a wolf in psychiatrist’s clothing, and wouldn’t that be such a terrifying thing for someone like Will Graham, who is uniquely vulnerable to his own psychology, to have somebody there with access to the buttons of his mind.”

Fuller’s thoughts on Hannibal and Will Graham set in motion an idea for a kind of Red Dragon prequel that would also serve as a mash-up of all of Harris’s writings on the character. That in turn led to a meeting with Martha De Laurentiis of the Dino De Laurentiis Company, which in turn led to a meeting at NBC which got the show greenlit.

2. THE SERIES BEGAN LIFE AS A CLARICE STARLING STORY WITH MGM.

Hugh Dancy and Julian Richings in 'Hannibal'
Brooke Palme, NBCUniversal Media

Before Bryan Fuller entered the picture, and even before Gaumont Television began working on developing the series, Martha De Laurentiis was considering some kind of new Hannibal Lecter project, but wasn’t interested in making yet another film based on the works of Thomas Harris. While Fuller’s concept ultimately latched onto the dynamic between Lecter and Graham, De Laurentiis said that before that happened there was the idea of revisiting The Silence of the Lambs pairing of Lecter and FBI agent Clarice Starling.

“We actually were toying with the idea—with MGM, who has the Clarice character, from the library of Orion Pictures that did Silence of the Lambs—and we were talking about doing something Clarice and Hannibal in the time period after Silence of the Lambs, but we really didn’t take it very far,” De Laurentiis said. “In fact, I felt that perhaps Hannibal would be a very, very minor character and then perhaps just disappear, and I didn’t feel that was right for the character of Hannibal Lecter.”

So, through working with Katie O’Connell at Gaumont, De Laurentiis was connected with Fuller, and the collaboration that would bring us Hannibal began.

3. FULLER ORIGINALLY DEVELOPED A SEVEN-SEASON PLAN.

Though Red Dragon was a major inspiration on the direction of the show because of its depiction of the Lecter/Graham dynamic, Fuller and company set Hannibal in the years leading up to that story in order to show audiences what Lecter was like as “a practicing psychiatrist and a practicing cannibal,” as Fuller put it. That meant reading between the lines of Harris’s novel to develop the relationship that would ultimately lead the two characters down the path of Red Dragon, and lead Hannibal as a character into his life as documented by Harris, when he was a captured serial killer and then an escaped fugitive. In the end, the mash-up quality of the series allowed Fuller to play with many of those elements of Lecter’s life outside of Harris’s chronology, but as the series was first taking shape, Fuller imagined a seven-season plan that would ultimately adapted Harris’s first three Lecter novels and then go beyond them.

“Well, when you get into season four, you get into the literature. And so season four would be Red Dragon, season five would be The Silence of the Lambs era, season six would be the Hannibal era, and then season seven would be a resolve to the ending of that book," Fuller said. "Hannibal ends on a cliffhanger. Hannibal Lecter has bonded with Clarice Starling and brainwashed her and they are now quasi-lovers and off as fugitives, and so that’s a cliffhanger. It might be interesting to resolve that in some way and to bring Will Graham back into the picture. So once we get two more seasons, say, of the television show, those are the aren’t-novelized stories, and then we would get into expansions of the novels after that and kind of using the novels as a backbone for season arcs that would then be kind of enhanced.”

Of course, plans change, and the adaptation of Red Dragon ultimately came in the second half of the show’s third season, but it’s clear Fuller had big ambitions to chart the full course of Hannibal’s criminal career.

4. A REAL CHEF DESIGNED ALL THOSE CANNIBAL RECIPES.

Mads Mikkelsen in 'Hannibal'
NBCUniversal Media

Hannibal Lecter isn’t just a cannibal—he is a cannibal gourmand and gourmet, a lover of the finer things who doesn’t just want to eat human flesh, but prepare it in exquisite and refined ways. Fuller knew this, and he also immediately knew he needed someone with tremendous food expertise to help him make the series. So he turned to a chef of whom he was already a fan: José Andrés, owner of the restaurant The Bazaar in Beverly Hills.

"I have a limited knowledge of the culinary. And Hannibal Lecter has to be smarter than I am in the kitchen," Fuller said. "José gives insight into his expertise; he's omnipresent in every food scene."

When work on the series began, Fuller and Andrés began a series of conversations in which the chef explained that every part of the human body is in some way edible, right down to the bones, which can be ground up and used as thickener. With this in mind, Fuller sought to not just write scenes in which Hannibal is cooking human body parts, but to craft elaborate metaphors in each dinner scene (for example, the scene in which he serves “lamb tongue” to Dr. Frederick Chilton), on which he heavily consulted Andrés during the writing process. Andrés would develop a recipe, which food stylist Janice Poon would then prepare and arrange on set, complete with the elaborate tablescapes which came to dominate so much of the look of the show. The “food porn” Fuller insisted on became so popular with fans that Poon started a blog about the process, and even eventually produced a cookbook.

5. SEVERAL ROLES WERE RACE- AND GENDER-SWAPPED.

In writing Hannibal, Fuller considered Harris’s writing—particularly Red Dragon—to be a kind of guiding Bible, but that doesn’t mean he didn’t take liberties. He aged up the title character, which among other things removes Lecter’s traumatic childhood experiences during World War II from consideration, but perhaps the most notable changes came in casting. Several key roles in the series were ultimately given to actors of different races and even genders than they were previously depicted, in an effort to increase the diversity of the cast. So, Hannibal gave us black actors in the roles of previously white characters Jack Crawford (Laurence Fishburne) and Reba McClane (Rutina Wesley), and the previously male characters Alan Bloom and Freddy Lounds became Alana Bloom (Caroline Dhavernas) and Freddie Lounds (Lara Jean Chorostecki).

“Because it’s a more accurate representation of the world, and if we just did Red Dragon again, it’d be a sausage party with a bunch of white guys,” Fuller told Bloody Disgusting. “I mean, when I first started writing, my protagonists were always young women, and there’s something about that point of view ... you can do some things with a female character that you can’t do with a male character. Like, I always think that, to make a character female gives you so many more opportunities of expression.”

6. DAVID TENNANT ALMOST PLAYED HANNIBAL.

David Tennant in 'Jessica Jones'
Myles Aronowitz, Netflix

Hugh Dancy was the first star cast in the series, joining Hannibal as Will Graham in the spring of 2012, but casting the title role took a little bit longer. After all, how do you recast a part that Anthony Hopkins basically owned thanks to three films and one Oscar? Ultimately, Danish actor Mads Mikkelsen won the role, but he wasn’t the only star considered. At one point, Fuller was meeting with Doctor Who and Jessica Jones star David Tennant about the role.

“I met [Hannibal executive producer] Bryan Fuller a couple of times, and we talked about it,” Tennant told Entertainment Weekly. “But I think they quite wisely chose Mads Mikkelsen, I think he was a perfect choice for it, and I think he did things with that character that I wouldn’t have managed, so I think the right man got the job.”

7. CENSORS WERE ACTIVELY INVOLVED IN THE CREATIVE PROCESS.

For a show like Hannibal, elaborate crime scenes full of mutilated bodies were always going to be part of the process, which adds even more credence to the idea that such a series might be better suited to cable than a broadcast network. At NBC, though, Fuller took a very hands-on approach to crafting the various gruesome murders with the help of the network's standards and practices department. Rather than script or shoot something and then get into a fight with network censors about what he couldn’t show, Fuller would reach out directly with his ideas first, and then work with them to depict the best possible NBC-friendly version of the scene. As a result, he learned a few tricks to get around broadcast TV’s violence limitations.

“The redder the blood and the brighter the blood the less you can show,” he said. “So if you darken the blood and throw it into shadow, then you can be much more graphic than your normally would be able to.”

As it happens, dark shadowy blood matches Hannibal’s overall aesthetic perfectly, so that particular note worked out for everyone.

8. ONE EPISODE NEVER AIRED ON NBC.

It was never any secret that Hannibal would be the kind of show that dealt with graphic and heinous crimes. Its two main characters are a serial killer and a man who hunts serial killers, after all. Still, even Fuller has his limits, and after a particularly violent few months in America in late 2012 and early 2013, he asked NBC to pull the fourth episode of the show’s first season. “Oeuf,” the episode in question, involved a woman (Molly Shannon) brainwashing children into killing their own families. Fuller felt that “given the cultural climate right now in the U.S., I think we shouldn’t air the episode in its entirety,” and cited in particular the Sandy Hook school shooting and the Boston Marathon bombing as examples. “Oeuf” was still teased via a series of clips released to NBC’s website, and the episode is now available on Blu-ray and through streaming services.

9. THERE WAS ONE ELABORATE MURDER THE SHOW WASN’T ALLOWED TO FILM.

Despite working closely with the network’s standards and practices to show as much as possible within the limits of broadcast TV, Hannibal was still a series airing on one of the big four broadcast networks, and not cable. That meant limitations were always inevitable, and at one point Fuller and the writers’ imaginations reached further than NBC was willing to allow.

So, what’s the one big murder scene NBC said no to? According to Fuller, it would have come in the Season 1 episode “Roti,” in which Graham is pursuing escaped killer Dr. Abel Gideon (guest star Eddie Izzard). The scene would have involved Lounds being lured into a room where one of Gideon’s victims was waiting, still alive, with a slit in his stomach. Lounds would have then flipped a switch that triggered a ceiling fan, and it would have been revealed that the fan was actually attached to the man’s intestines through the cut in his stomach. As the fan began to spin, it would disembowel him.

“That was the only one where NBC was like, ‘I just don’t know how you’re going to do it,'” Fuller said. “We would have pushed back if we also hadn’t been told that financially we didn’t know how we could afford to produce such a gag, because you have intestines swinging around a ceiling fan,” he adds.

10. THE SHOW’S BIGGEST CRIME SCENE USED REAL (LIVING) HUMAN BODIES.

Hugh Dancy in 'Hannibal'
NBCUniversal Media

The first case of Hannibal’s second season involved “The Muralist,” a serial killer who abducted and killed various people of different ethnic backgrounds, preserved their bodies with silicone and resin, and then sewed them together in a massive and intricate pattern in the bottom of a silo to form the shape of a human eye (victims with paler skin made up the white, while victims with darker skin were the pupil). It’s an intense and captivating visual even by Hannibal’s standards, and while the production used a computer program called Form Z to design the layout of the bodies beforehand, when it came time to actually film the scene there was no substitute for the real thing. Several dozen background artists were employed and asked to lie in an elaborate pattern on the floor of the set for two days of shooting, usually nearly nude.

“Forty-plus human bodies. They warmed the bottom of the floor for the backgrounds artists so they wouldn’t succumb to the cold,” Fishburne recalled. “And you walk into that room and you’re hit immediately with all the scent of human flesh and the pheromones that are coming off everybody and all you want to do is lay down and go to sleep with them.”

11. IT INCLUDES A WONDERFALLS CROSSOVER.

It’s a bit of a tradition among Bryan Fuller TV series that some connective tissue is established between whatever the current series is and the shows that came before it, establishing what fans call the “Fullerverse.” This carried over into Hannibal, which shares a very brief connection with Fuller’s single season Fox series Wonderfalls. In Hannibal’s second episode, “Amuse-Bouche,” a woman named Gretchen Speck (Chelan Simmons) goes to the pharmacy to pick up her insulin, at which time it’s revealed that she was previously Gretchen Speck-Horowitz, but she has since divorced. Speck is one of the potential victims of that episode’s serial killer, a pharmacist who gives diabetic patients the wrong medication to place them into a coma, then half-buries them and uses their bodies as mushroom farms in the forest. Speck was meant to be his next victim, but she’s saved before he can carry out his plan. Gretchen Speck-Horowitz was one of Wonderfalls’s recurring characters, and because she managed to escape death in Hannibal, she’s still around for another Bryan Fuller series.

12. DAVID BOWIE WAS ALMOST A GUEST STAR.

In addition to a stellar main cast, Hannibal was also always packed with interesting guest stars, from Eddie Izzard to Gillian Anderson to Lance Henriksen. One particular guest star, though, was always just out of reach for the series. For the second season, Fuller offered the role of Hannibal’s uncle Robert Lecter to legendary musician and actor David Bowie, but Bowie was unavailable and the role was left uncast—though not without the hope that Bowie could eventually make time for the series.

“We were told by his people, when we got the pick-up for the third season, to make sure to ask again about his availability,” Fuller said. “So, once we have our dates, we are going to ask again.  I think the man walks on water, so I would love to be in his orbit, in some way.”

Bowie, of course, never made it to Hannibal, and we now know he spent the final 18 months of his life battling liver cancer and working on his final musical projects before he passed away on January 10, 2016.

13. A REVIVAL FOCUSING ON THE SILENCE OF THE LAMBS IS STILL POSSIBLE.

Hannibal was canceled in June of 2015, just weeks into third season, after three years of critical acclaim but consistently low ratings. “Fannibals” immediately began requesting that the series continue elsewhere, and Fuller teased discussions with various streaming services to do just that. At one point, it seemed a deal to bring the series to Amazon for a fourth season was close, but the timeline ended up not working out due in part to Fuller’s commitment to the Starz series American Gods. Three years later, we still haven’t seen any more Hannibal.

That doesn’t mean it’ll never happen, though. Fuller has consistently broached the possibility of a fourth season or a even a miniseries to reunite the show’s cast, and both Mikkelsen and Dancy have expressed interest in returning. If the show did come back, Fuller would aim to focus on some form of the Silence of the Lambs storyline, having adapted Red Dragon in season three, while also resolving the very literal cliffhanger at the end of the series’s NBC run.

So, when could it happen? Last year, Fuller said that the rights have finally reverted back to De Laurentiis, who has begun “conversations” about the future of the franchise. We still have no idea what that future holds, but even three years later, Fannibals aren’t letting their favorite cannibal go.

Additional Sources:
“Hannibal Reborn” featurette, 2013
“A Taste for Killing” featurette, 2013
The Art and Making of Hannibal the Television Series by Jesse McLean, 2015

15 Fascinating Facts About Julia Child

TIM SLOAN/AFP/Getty Images
TIM SLOAN/AFP/Getty Images

Julia Child was much more than just a bestselling cookbook author and chef. Over the course of her life, she was also a breast cancer survivor, a TV trailblazer, and a government spy. It's the famed chef's spy game that will be the focus of Julia, a new series being developed by ABC Signature and created by Benjamin Brand.

The project will draw its inspiration from Child's PBS program Cooking for the C.I.A. “I was disappointed when I learned that in this case, the C.I.A. stood for the Culinary Institute of America,” Brand told Deadline. “Cooking Secrets of the Central Intelligence Agency always seemed like a more interesting show to me. Many years later, when I read a biography of Julia Child and learned about her experiences during World War II, working for the Office of Strategic Services—the precursor to the C.I.A.—the story of Julia quickly fell into place.”

Though Julia (which has yet to confirm a premiere date) will be a work of fiction, here are 15 facts about the beloved cook, who was born on this day in 1912.

1. SHE MET THE INVENTOR OF THE CAESAR SALAD WHEN SHE WAS A KID.

As a preteen, Julia Child traveled to Tijuana on a family vacation. Her parents took her to dine at Caesar Cardini’s restaurant, so that they could all try his trendy “Caesar salad.” Child recalled the formative culinary experience to The New York Times: “My parents were so excited, eating this famous salad that was suddenly very chic. Caesar himself was a great big old fellow who stood right in front of us to make it. I remember the turning of the salad in the bowl was very dramatic. And egg in a salad was unheard of at that point.” Years later, when she was a famous chef in her own right, Child convinced Cardini’s daughter, Rosa, to share the authentic recipe with her.

2. THE WAVES AND WACS REJECTED HER BECAUSE SHE WAS TOO TALL.

Like so many others of her generation, Child felt the call to serve when America entered World War II. There was just one problem: her height. At a towering 6'2", Child was deemed “too tall” for both the Women Accepted for Volunteer Emergency Service (WAVES) and Women’s Army Corps (WAC). But she was accepted by the forerunner to the CIA, which brings us to our next point.

3. SHE WAS A SPY DURING WORLD WAR II.

Child took a position at the Office of Strategic Services (OSS), which was basically the CIA 1.0. She began as a research assistant in the Secret Intelligence division, where she worked directly for the head of the OSS, General William J. Donovan. But she moved over to the OSS Emergency Sea Rescue Equipment Section, and then took an overseas post for the final two years of the war. First in Ceylon (present-day Sri Lanka) and later in Kunming, China, Child served as the chief of the OSS Registry. This meant she had top-level security clearance. It also meant she was working with Paul Child, the OSS officer she would eventually marry.

4. SHE HELPED DEVELOP A SHARK REPELLENT FOR THE NAVY.


Hulton Archive/Getty Images

While Child was in the Emergency Sea Rescue Equipment Section, she helped the team in its search for a suitable shark repellent. Several U.S. naval officers had been attacked by the ocean predators since the war broke out, so the OSS brought in a scientist specializing in zoology and an anthropologist to come up with a fix. Child assisted in this mission, and recalled her experience in the book Sisterhood of Spies: “I must say we had lots of fun. We designed rescue kits and other agent paraphernalia. I understand the shark repellent we developed is being used today for downed space equipment—strapped around it so the sharks won’t attack when it lands in the ocean.”

5. SHE GOT MARRIED IN BANDAGES.

Once the war ended, Julia and Paul Child decided to take a “few months to get to know each other in civilian clothes.” They met with family members and traveled cross-country before they decided to tie the knot. The wedding took place on September 1, 1946. Julia remembered being “extremely happy, but a bit banged up from a car accident the day before.” She wasn’t kidding; she actually had to wear a bandage on the side of her face for her wedding photos. The New York Review of Books has one of those pictures.

6. SHE WAS A TERRIBLE COOK WELL INTO HER 30S.

Child did not have a natural talent for cooking. In fact, she was a self-admitted disaster in the kitchen until she began taking classes at Le Cordon Bleu in Paris, where she and Paul lived for several years. Prior to her marriage, Child simply fed herself frozen dinners. It was probably the safest choice; one of her earliest attempts at cooking resulted in an exploded duck and an oven fire.

7. A LUNCH IN ROUEN CHANGED HER LIFE.

Child repeatedly credited one meal with spurring her interest in fine foods: a lunch in the French city of Rouen that she and Paul enjoyed en route to their new home in Paris. The meal consisted of oysters portugaises on the half-shell, sole meunière browned in Normandy butter, a salad with baguettes, and cheese and coffee for dessert. They also “happily downed a whole bottle of Pouilly-Fumé” over the courses.

8. IT TOOK HER NINE YEARS TO WRITE AND PUBLISH HER FIRST COOKBOOK.

Mastering the Art of French Cooking revolutionized home cooking when it was published in 1961—but the revolution didn't happen overnight. Child first began work on her famous tome in 1952, when she met Simone Beck and Louisette Bertholle. The French women were writing a cookbook aimed at teaching Americans how to make French cuisine, and brought Child on board as a third author. Nine years of research, rewrites, and rejections ensued before the book landed a publisher at Alfred A. Knopf.

9. SHE GOT FAMOUS BY BEATING EGGS ON BOSTON PUBLIC TELEVISION.

Child’s big TV break came from an unlikely source: Boston’s local WGBH station. While promoting Mastering the Art of French Cooking, Child appeared as a guest on the book review program I’ve Been Reading. But rather than sit down and discuss recipe semantics, Child started cracking eggs into a hot plate she brought with her. She made an omelette on air as she answered questions, and viewers loved it. The station received dozens of letters begging for more demonstrations, which led WGBH producer Russell Morash to offer Child a deal. She filmed three pilot episodes, which turned into her star-making show The French Chef.

10. ALL HER ESSENTIAL UTENSILS WERE KEPT IN A “SACRED BAG.”

According to a 1974 New Yorker profile, Child carried a large black canvas satchel known as the “sacred bag.” Rather than holy artifacts, it contained the cooking utensils she couldn’t live without. That included her pastry-cutting wheel, her favorite flour scoop, and her knives, among other things. She started using it when The French Chef premiered, and only entrusted certain people with its care.

11. SHE SURVIVED BREAST CANCER.

Child’s doctors ordered a mastectomy in the late 1960s after a routine biopsy came back with cancerous results. She was in a depressed mood following her 10-day hospital stay, and Paul was a wreck. But she later became vocal about her operation in hopes that it would remove the stigma for other women. She told TIME, “I would certainly not pussyfoot around having a radical [mastectomy] because it’s not worth it.”

12. HER MARRIAGE WAS WELL AHEAD OF ITS TIME.

As their meet-cute in the OSS offices would suggest, Paul and Julia Child had far from a conventional marriage (at least by 1950s standards). Once Julia’s career took off, Paul happily assisted in whatever way he could—as a taste tester, dishwasher, agent, or manager. He had retired from the Foreign Service in 1960, and immediately thrust himself into an active role in Julia’s business. The New Yorker took note of Paul’s progressive attitudes in its 1974 profile of Julia, noting that he suffered “from no apparent insecurities of male ego.” He continued to serve as Julia’s partner in every sense of the word until his death in 1994.

13. SHE WAS THE FIRST WOMAN INDUCTED INTO THE CULINARY INSTITUTE OF AMERICA'S HALL OF FAME.

Child spent her early years working for what would become the Central Intelligence Agency. In 1993, she joined another CIA: the Culinary Institute of America. The group inducted Child into its Hall of Fame that year, making her the first woman to ever receive the honor.

14. SHE EARNED THE HIGHEST CIVILIAN HONORS FROM THE U.S. AND FRANCE.

Along with that CIA distinction, Child received top civilian awards from both her home country and the country she considered her second home. In 2000, she accepted the Legion D’Honneur from Jacques Pépin at Boston’s Le Méridien hotel. Just three years later, George W. Bush gave her the Presidential Medal of Freedom.

15. HER KITCHEN IS IN THE SMITHSONIAN.

In 2001, Julia donated the kitchen that Paul designed in their Cambridge, Massachusetts home to the Smithsonian’s National Museum of American History. Although it’s not possible to walk directly through it, there are three viewports from which visitors can see the high counters, wall of copper pots, and gleaming stove. Framed recipes, articles, and other mementos from her career adorn the surrounding walls—and, of course, there’s a television which plays her cooking shows on loop.

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