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British Plan Naval Attack on Dardanelles

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 163rd installment in the series.

January 13, 1915: British Plan Naval Attack on Dardanelles 

Having first decided on its feasibility in November 1914, in January 1915 the British government began planning the ill-fated attack on the southern Turkish straits, known as the Dardanelles, which would eventually snowball into the Gallipoli campaign, one of the bloodiest engagements of the Great War. However the operation began as something very different – a naval attempt to “force” the Turkish straits by sending a powerful armada past Turkish forts and mine fields in the hopes of capturing Constantinople, capital of the Ottoman Empire. 

As the war settled into stalemate on the Western Front, First Lord of the Admiralty Winston Churchill and other strategists were increasingly drawn to the idea of using sea power, Britain’s traditional area of strength, to produce a decisive strategic result in some other theater, specifically the Mediterranean or the Baltic, thus threatening the Central Powers’ flanks. Churchill summed up their thinking in a letter to Prime Minister Asquith on December 29: 

Are there not other alternatives than sending our armies to chew barbed wire in Flanders? Further, cannot the power of the Navy be brought more directly to bear upon the enemy? If it is impossible or unduly costly to pierce the German lines on existing fronts, ought we not, as new forces come to hand, to engage him on new frontiers, and enable the Russians to do so too? 

Although Churchill originally favored a move in the Baltic, in the end the Dardanelles plan won out for a number of reasons. Not only would an amphibious attack on the straits help burnish the Royal Navy’s reputation following a number of embarrassing defeats; it held out the possibility of changing the balance of forces – and maybe even ending the war – by knocking the Ottoman Empire out of the conflict. Reopening the Turkish straits would also allow the Western Allies to deliver much-need supplies to Russia, including ammunition. Furthermore it would force the Turks to withdraw forces from other theaters to defend their capital, thereby reducing threats to the Suez Canal in Egypt and British oil supplies in Persia, as well as the southern Russian Caucasus region. And it would encourage neutrals like Romania, Bulgaria, Greece, and Italy to join the Allies.


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But one of the most important (and under-recognized) reasons was Russia’s long-term goal of taking control of Constantinople and the Turkish straits, thus liberating the historical seat of Eastern Orthodox Christianity and securing Russian maritime trade routes to the rest of the world via the Black Sea. Indeed, as historian Sean McMeekin pointed out in his revisionist work, The Russian Origins of the First World War, Russian planning for an amphibious attack on Constantinople was already well advanced by the first half of 1914; even before the outbreak of war, with the Armenian reforms undermining Ottoman control in the east the Russians clearly anticipated the breakup of the decaying empire in the near future, giving them an opportunity to make a lunge for the ancient Byzantine metropolis they called “Tsargrad,” or “The Tsar’s City.”

After war broke out, setbacks on the Eastern Front forced the Russians to put this plan on hold, but they still nursed a burning ambition to conquer Constantinople, which the British and French accepted as a legitimate war aim, promising to help Russia fulfill the age-old quest. Of course the Western Allies also expected to get “compensation,” in the form of their own slices of Turkish territory. 

On November 2, 1914, the same day Russia declared war on the Ottoman Empire, the British officially abandoned their traditional policy of upholding Turkish territorial integrity, clearing the way for Russia to annex Constantinople; three days later Britain formally annexed the island of Cyprus, until then technically still part of the Ottoman Empire. Then on November 14, the same day the Ottoman Sultan declared a spurious “Holy War” against the infidels (except German and Austria-Hungary), the British Ambassador George Buchanan told Russian Foreign Minister Sergei Sazonov, “The Government of his Britannic Majesty… recognize that the question of the Straits and Constantinople must be solved in the manner Russia desires” – provided that Russia had no objections to Britain formally annexing Egypt, also until then technically an Ottoman province. Of course the Russians did not, and Britain formally declared Egypt a British protectorate on December 18. Meanwhile on November 21 Sazonov met with the French ambassador, Maurice Paléologue (who coincidentally claimed descent from a Byzantine noble family) to iron out the details for Russian control of the straits. 

However the exact form the Allied campaign would take remained undecided. After British War Council Secretary Maurice Hankey circulated the first proposal for an attack on the Turkish straits on December 28, 1914, participants weighed various options, including a “demonstration” intended simply to distract the Turks, a bold “rush” by the fleet racing past the forts, and a combined land and sea operation. Churchill advocated the last option at a meeting on January 2, 1915, but Secretary of War Lord Kitchener dismissed the idea, saying no troops could currently be spared from the Western Front. So Churchill asked the Royal Navy’s Mediterranean commander, the memorably named Vice-Admiral Sackville Carden, to explore possibilities for a naval-only attack. 

Carden’s plan, presented and approved at a follow-up meeting of the War Council on January 13, 1915, called for a slow, careful advance by a powerful armada of twelve battleships supported by minesweepers, cruisers, destroyers, and submarines. But even with overwhelming force this was a risky plan, presenting many chances for failure in the face of interlocking Turkish defenses: the battleships were vulnerable to mines, the minesweepers were vulnerable to mobile artillery batteries, and all the ships would come under the guns of the Turkish forts (see map of Turkish defenses below), as well as exposing themselves to attack by German and Austrian U-boats. 

Ideally the minesweepers would clear the way for the battleships to bombard the Turkish forts and mobile batteries, while the destroyers would guard against enemy submarines – but the Turks would take every opportunity to lay new minefields and reposition mobile batteries under cover of night, and the Royal Navy’s record defending against submarine attacks had been, so far, less than stellar, leading to the loss of ships including HMS Cressy, Aboukir, Hogue, Hawke, and Formidable, among others. Then there was also the risk of inclement weather disrupting operations: the northern Aegean Sea was famous for violent storms like the ones that destroyed Persian invasion fleets in 492 and 480 BCE. 

Some key figures voiced doubts about this ambitious plan, most notably First Sea Lord Jackie Fisher, who in late January (and in typically dramatic fashion) threatened to resign if no land force was provided. However Kitchener and Churchill prevailed on the mercurial Fisher, who withdrew his resignation, and planning for the naval-only operation went ahead. In the event Fisher’s forebodings proved correct, and the Allies would end up mounting a huge amphibious invasion of the Gallipoli peninsula – but only after the failed naval operation had alerted the Turks to the threat, giving them plenty of time to prepare their defenses. 

ANZACs In Transit 

In January 1915 few regular soldiers in the Australian and New Zealand Army Corps (ANZAC) suspected that they would soon be fighting opposite the plains of ancient of Troy. That month thousands of hardy soldiers from down under were training in Egypt at a camp within sight of the Pyramids, with the immediate assignment of protecting the Suez Canal against Turkish attack; meanwhile a second contingent was sailing across the Indian Ocean to join their “mates” in the Middle East. 

Needless to say, the months spent in Egypt were an eye-opening experience for ANZAC troops, many of whom had tramped the Australian outback or New Zealand backcountry but never left those shores, and generally shared the racial and cultural prejudices endemic to that era. One anonymous Australian soldier summed up his feelings about native Egyptians: “They are intensely religious, always looking for backsheesh [tips or bribes], and have no morals… they are to a man top-knotch liars, and invoke the aid of Allah to help them out in their perjuries. They are truly Eastern in their love of bargaining; also in their smell.” 

Unsurprisingly relations between the ANZAC troops and Egyptian natives were particularly fraught when it came to Egyptian women, who found ways of expressing themselves even when clad in a full niqab, according to the same Australian source: “They were rather fine about the eyes, and they made full use of those organs, even in the company of the ‘old man,’ who didn’t seem to be overjoyed when he caught them giving the glad eye to a mob of khaki-clad Christians.” 

The War of the Sexes 

Indeed, as the Great War didn’t change underlying human nature, all over the world men and women thrown together by circumstances were socializing – and often more – despite half-hearted attempts to stop them. 

Early in the war most interactions were brief and chaste, characterized more by curiosity than lust – although often with a modest transactional element. British war correspondent Philip Gibbs fell in with a band of Belgian nurses who “discovered a shop where hot coffee was being served to British soldiers who were willing to share it with attractive ladies.” Similarly Louis Keene, a Canadian soldier, remembered: “Girls were very interested in us and took most of our collar badges and buttons as souvenirs.” Sometimes the gifts flowed in the other direction, irrespective of nationality; one Scottish soldier, Joe Cassells, noticed British nurses doting on a wounded 16-year-old German soldier, observing, “The fair sex found him very attractive and he always got an ample share of the dainties they brought.”

As time went on and the war settled into routines, more intimate relationships inevitably developed. Piete Kuhr, a 12-year-old German girl living in East Prussia, confided the results in her diary after a regiment from another part of Germany had been stationed in her small town for a few months: “The women and girls go to great lengths to look nice for them. A few days ago a thirteen-year-old-girl, a baker’s daughter, was expelled from our school because she is going to have a child by a first lieutenant. She is a big, strapping girl with blond pigtails. None of us had noticed anything. The whole school was in turmoil.”

Practical French authorities established official brothels in order to keep French and British soldiers away from “good” local girls, with mixed success. Of course even simple commercial relationships could still have their awkward moments. Edward Casey, an Irish soldier in the British Army, recalled an embarrassing visit to a brothel Paris:

Before I could find an empty table and sit, a different [Girl] took charge of me, leading me along, talking in her funny English… [She began] putting her hands inside my fly, and murmuring, ‘Oh darling, you are so hard and big. You will like a short time with me. I am very good, and I make you very pleasurable…” I was amazed when she took hold of my business and examined it very carefully. Satisfied I was clean and free from the Gonna [gonorrhea]… [she] laid on the bed… I was told to lay on top of her. Then my trouble started. I went limp, and even though this French hussy tried everything she knew (even putting my thing in her mouth), I could not get hard. Then she got very angry: “Am I not very beautiful to you, that you do not want to love me? You English are very cold and do not know how to make love. I leave you now. Get dressed, I have work to do.” 

These were hardly universal experiences, however. Although its cumulative effect on cultural mores would be huge, in January 1915 the Great War had scarcely begun loosening traditional strictures around sexuality, especially in the middle classes, where respectable young women (and men) of all nationalities found themselves constrained by the same set of rules that governed Victorian gender relations fifty years before. Vera Brittain, an aspiring academic and writer who later volunteered as a nurse in France, recalled her closely supervised interactions with her soon-to-be fiancée, the poet Roland Leighton, up to the moment he left for the front: 

Incredible as it may seem to modern youth, it was then considered correct and inevitable that my aunt should cling to me like a limpet throughout the precious hours that I spent with Roland… Sophisticated present-day girls… have no conception of the difficulties under which courtships were conducted by provincial young ladies in 1915. There was no privacy for a boy and girl whose mutual feelings had reached their most delicate and bewildering stage; the whole series of complicated relationships leading from acquaintance to engagement had to be conducted in public or not at all.

Massive Earthquake in Italy 

While the manmade cataclysm of the Great War kept the world’s rapt attention, nature continued to deal out its own share of death and destruction, as if to remind the human race who was really in charge. On the morning of January 13, 1915, a devastating earthquake struck central Italy, killing over 30,000 people and leaving 90,000 injured, prompting many observers to wonder if it was divine retribution for the Great War. 

The epicenter of the earthquake, which measured around 7.0 on the Richter scale, was located near the town of L’Aquila in the Apennine Mountains, an area bedeviled by deadly quakes throughout history (in 2009 L’Aquila was the site of another earthquake, measuring 6.3 on the Richter scale, which left 309 people dead). However it inflicted the worst destruction on the ancient town of Avezzano, for which the disaster was named (above, the ruins of Avezzano). 

Composed mostly of poorly maintained medieval and 19th century dwellings, virtually the entire settlement of Avezzano collapsed in eight seconds, killing all but 300 of its 11,000 inhabitants, while thousands more perished in the surrounding villages, many located in even more remote parts of the countryside. One teenager, Giovanni Pagani, was preparing to go to school

when the old earth started to shake with all its mountains, with such force that the very hinges of the world seemed about to fall down. From mysterious depths a roar was rising, to which another roar replied from the frightened mountains, and the roars filled the caves of the earth and the immensity of the skies, where the sun was looking down at a huge cloud of mourning. Afterwards, things lost their names to become a confused heap of debris…

Another eyewitness told Reuters that “where there had been towns he could see enormous whirlwinds of dust and smoke.” The death toll probably grew even higher in the following hours, as local authorities, operating with scant information in a place still largely lacking in modern communications, failed to grasp the scale of the disaster until the following day – meaning rescue efforts were for the most part too little, too late. 

See the previous installment or all entries.

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11 Things You Didn't Know About Dolly Parton
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Over the past 50-some years, Dolly Parton has gone from a chipper country starlet to a worldwide icon of music and movies whose fans consistently pack a theme park designed (and named) in her honor. Dolly Parton is loved, lauded, and larger than life. But even her most devoted admirers might not know all there is to this Backwoods Barbie.

1. YOU WON'T FIND HER ON A DOLLYWOOD ROLLER COASTER.

Her theme park Dollywood offers a wide variety of attractions for all ages. Though she's owned it for more than 30 years, Parton has declined to partake in any of its rides. "My daddy used to say, 'I could never be a sailor. I could never be a miner. I could never be a pilot,' I am the same way," she once explained. "I have motion sickness. I could never ride some of these rides. I used to get sick on the school bus."

2. SHE ENTERED A DOLLY PARTON LOOK-A-LIKE CONTEST—AND LOST.


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Apparently Parton doesn't do drag well. “At a Halloween contest years ago on Santa Monica Boulevard, where all the guys were dressed up like me, I just over-exaggerated my look and went in and just walked up on stage," she told ABC. "I didn’t win. I didn’t even come in close, I don’t think.”

3. SHE SPENT A FORTUNE TO RECREATE HER CHILDHOOD HOME.

Parton and her 11 siblings were raised in a small house in the mountains of Tennessee that lacked electricity and indoor plumbing. When Parton bought the place, she hired her brother Bobby to restore it to the way it looked when they were kids. "But we wanted it to be functional," she recounted on The Nate Berkus Show, "So I spent a couple million dollars making it look like I spent $50 on it! Even like in the bathroom, I made the bathroom so it looked like an outdoor toilet.” You do you, Dolly.

4. SHE WON'T APOLOGIZE FOR RHINESTONE.


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Parton is well-known for her hit movies Steel Magnolias and 9 to 5, less so for the 1984 flop Rhinestone. The comedy musical about a country singer and a New York cabbie was critically reviled and fled from theaters in just four weeks. But while her co-star Sylvester Stallone has publicly regretted the vehicle, Parton declared in her autobiography My Life and Other Unfinished Business that she counts Rhinestone's soundtrack as some of her best work, especially "What a Heartache."

5. SHE IS MILEY CYRUS'S GODMOTHER, SORT OF.

"I'm her honorary godmother. I've known her since she was a baby," Parton told ABC of her close relationship with Miley Cyrus. "Her father (Billy Ray Cyrus) is a friend of mine. And when she was born, he said, 'You just have to be her godmother,' and I said, 'I accept.' We never did do a big ceremony, but I'm so proud of her, love her, and she's just like one of my own." Parton also played Aunt Dolly on Cyrus's series Hannah Montana.

6. SHE RECEIVED DEATH THREATS FROM THE KU KLUX KLAN.

A photo of Dolly Parton on stage
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In the mid-2000s, Dollywood joined the ranks of family amusement parks participating in "Gay Days," a time when families with LGBT members are encouraged to celebrate together in a welcoming community environment. This riled the KKK, but their threats didn't scare Dolly. "I still get threats," she has admitted, "But like I said, I'm in business. I just don't feel like I have to explain myself. I love everybody."

7. TO PROMOTE LITERACY, SHE STARTED HER OWN "LIBRARY."

In 1995, the pop culture icon founded Dolly Parton's Imagination Library with the goal of encouraging literacy in her home state of Tennessee. Over the years, the program—built to mail children age-appropriate books—spread nationwide, as well as to Canada, the UK, and Australia. When word of the Imagination Library hit Reddit, the swarms of parents eager to sign their kids up crashed the Imagination Library site. It is now back on track, accepting new registrations and donations.

8. PARTON'S HOMETOWN HAS A STATUE IN HER HONOR.

A stone's throw from Dollywood, Sevierville, Tennessee is where Parton grew up. Between stimulating tourism and her philanthropy, this proud native has given a lot back to her hometown. And Sevierville residents returned that appreciation with a life-sized bronze Dolly that sits barefoot, beaming, and cradling a guitar, just outside the county courthouse. The sculpture, made by local artist Jim Gray, was dedicated on May 3, 1987. Today it is the most popular stop on Sevierville's walking tour.

9. THE CLONED SHEEP DOLLY WAS NAMED AFTER PARTON.

In 1995 scientists successfully created a clone from an adult mammal's somatic cell. This game-changing breakthrough in biology was named Dolly. But what about Parton inspired this honor? Her own groundbreaking career? Some signature witticism or beloved lyric? Nope. It was her legendary bustline. English embryologist Ian Wilmut revealed, "Dolly is derived from a mammary gland cell and we couldn't think of a more impressive pair of glands than Dolly Parton's."

10. SHE TURNED DOWN ELVIS.

After Parton made her own hit out of "I Will Always Love You," Elvis Presley's manager, Colonel Tom Parker, reached out in hopes of having Presley cover it. But part of the deal demanded Parton surrender half of the publishing rights to the song. "Other people were saying, 'You're nuts. It's Elvis Presley. I'd give him all of it!'" Parton admitted, "But I said, 'I can't do that. Something in my heart says don't do that.' And I didn't do it and they didn't do it." It may have been for the best. Whitney Houston's cover for The Bodyguard soundtrack in 1992 was a massive hit that has paid off again and again for Parton.

11. SHE JUST EARNED TWO GUINNESS WORLD RECORDS.

Parton is no stranger to breaking records. And on January 17, 2018 it was announced that she holds not one but two spot in the Guinness World Records 2018 edition: One for Most Decades With a Top 20 Hit on the US Hot Country Songs Chart (she beat out George Jones, Reba McEntire, and Elvis Presley for the honor) and the other for Most Hits on US Hot Country Songs Chart By a Female Artist (with a total of 107). Parton said she was "humbled and blessed."

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15 Fascinating Facts About Blood Simple
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Ethan and Joel Coen hadn’t made a feature film of their own until they set out to write, direct, produce, and edit Blood Simple, a bloody Texas-set noir about a cuckold husband named Julian Marty (Dan Hedaya) who hires a private detective (M. Emmet Walsh) to murder his cheating wife (Frances McDormand) and her lover (John Getz). The filmmakers wanted a small budget like a horror film, but preferred making an entertaining B-film. Before production started, the Coens created a two-minute trailer and showed it to investors, which allowed them to raise an impressive $750,000 (which was half of the final budget).

In January of 1985, the movie was released in theaters and grossed $2,150,000. In its 2000 theatrical re-release, the movie added another $1.7 million to its box office haul. The low-budget film set the standard for the wave of American indie films to come, and it established the Coens as two of the most important voices in cinema. It also launched the careers of Frances McDormand and cinematographer Barry Sonnenfeld (who would later turn to directing).

Here are 15 facts about the noir thriller, which arrived in theaters on this day in 1985.

1. ITS TITLE WAS INSPIRED BY DASHIELL HAMMETT’S RED HARVEST.

“It’s an expression he used to describe what happens to somebody psychologically once they’ve committed murder,” Joel Coen told Time Out. “They go ‘blood simple’ in the slang sense of ‘simple,’ meaning crazy. But it’s left up to the audience to ponder the implications; they’re never spelled out in the film itself.”

2. THE COENS SPECIFICALLY WROTE THE PART OF LOREN VISSER FOR M. EMMET WALSH.

Blood Simple started something else that we’ve done pretty much on every subsequent movie, which was that we’ve always written parts for specific actors,” Joel Coen said in the book My First Movie. The brothers knew Walsh from the film Straight Time, in which he played a sleazy character. “Actually, it was a more interesting character than what we came up with in Blood Simple inasmuch as it was more ambiguous,” Joel said. They offered him the part without having him audition, but ran into a dilemma. “All I remember is we didn’t know what the hell to call him,” Ethan said. “I mean, what the hell do you call him when you meet him? M?”

3. THE COENS—AND MANY OF THE CAST AND CREW—HAD NEVER BEEN ON A FILM SET BEFORE.

Joel Coen admitted in My First Movie, “The first day of shooting on Blood Simple was the first time I’d ever been on a feature movie set in any capacity, even as a visitor.” Coen had previously worked as an assistant editor on horror films, including 1981’s The Evil Dead. Coen mentioned how Sonnenfeld would throw up after looking at the dailies, because he was so nervous working on the film. “Everyone was in the same boat,” Joel said. “The gaffer had never gaffered a feature. The sound guy, the mixer on the set, had never mixed a feature.”

4. THE COENS CHOSE TO MAKE A FILM NOIR BECAUSE OF THE GENRE’S PRACTICALITY.

Dan Hedaya and M. Emmet Walsh in 'Blood Simple' (1984)
Janus Films

The Coens liked hard-boiled fiction authors James M. Cain, Dashiell Hammett, and Raymond Chandler, and used them to their advantage in writing the script. “It’s certainly a genre that is entertaining, and we also picked it for very practical reasons,” Ethan said. “We knew we weren’t going to have a big budget. The financing would not allow it. We could build something on the genre and the appeal it has.”

“It’s also a genre that allows you to get by rather modestly in some ways,” Joel added. “You can limit the number of characters, put them into a confined set. There’s no need to go for large-scale effects or scatter them through the film, and those cost a lot of money. So it was a pragmatic decision that determined what film we would make.”

5. BUT THEY DIDN’T WANT TO PARODY FILM NOIR.

In a 1985 interview, featured in the book The Coen Brothers: Interviews, Ethan said, “When people call Blood Simple a film noir, they’re correct to the extent that we like the same kind of stories that the people who made those movies like. We tried to emulate the source that those movies came from rather than the movies themselves.” They didn’t want to make “a venetian blind movie,” but movies like The Conformist and The Third Man inspired the look of Blood Simple.

Because of the comedic elements in the film, some people might think the movie is trying to parody the thriller genre. “On one hand, it is a thriller, and, on the other, it is funny,” Ethan said. “But certainly the film is supposed to work as a thriller and I don’t think it would work as both at once.”

6. THEY BORROWED AN INVESTMENT TACTIC FROM SAM RAIMI.

Their friend Sam Raimi had shot a trailer for his film The Evil Dead and raised $60,000 toward the budget after showing it to investors. “He financed the movie using a common thing that people making exploitation movies had used, which was a limited partnership,” Joel said in My First Movie. “What we also borrowed from Sam and the other models was that I presented more of an action exploitation type movie than it ended up being, and in fact than we knew it would be.”

The Coens didn’t know many people, so they decided to take a projector and the trailer to entrepreneurs’ homes in New York, Texas, and Minnesota. “If you call people up and say, ‘Can you give me 10 minutes so I can present an opportunity to invest in a movie?’ They’re going to say, ‘No, I don’t need this,’ and hang up the phone,” Joel said in My First Movie. “But it’s slightly different if you call and say, ‘Can I come over and take 10 minutes and show you a piece of film?’ All of a sudden that intrigues them and gets your foot in the door.” Eventually, all 65 investors made a profit from their investment.

The investor trailer finally surfaced online and features Bruce Campbell in the Dan Hedaya role.

7. NONE OF THE MAJOR STUDIOS WANTED TO DISTRIBUTE IT.

The Coens took time editing the film, and started shopping the movie around in 1984. Warner Bros. rejected it, but an indie company agreed to distribute it with a slight change. “We took it to Crown International Pictures and the guy would say, ‘If you have some nudity you can put in there maybe we can distribute it,’” Joel said in My First Movie. “We saw everybody from the studios to the lowliest sleaze-bucket distributors in L.A. And they all said no.” Circle Films picked up the movie after seeing a screening of it at the Toronto Film Festival. When the movie came out with good reviews, Warner tried to buy it from Circle to no avail.

8. M. EMMET WALSH COULDN’T BLOW SMOKE RINGS.

At first the actor was skeptical of starring in a movie where he probably wouldn’t make any money, but he gave the Coens a chance. Joel asked Walsh if he could blow a smoke ring from cigarette smoke and he said he would try. “I just couldn’t do it,” Walsh said. “I worked and worked on it, but I started to make myself sick.” The Coens brought in a smoke machine to make the smoke rings but the machine broke during filming. “The script gal says, ‘Give me a damn cigar. I grew up with five brothers smoking behind a barn,’” Walsh said. “So they give her a cigar and she starts making these incredible smoke rings. I said to myself, ‘My God, this is how you make a movie!’ Later on, I went outside and saw her puking her brains out. That was Blood Simple.”

9. THE COENS HAD AN INCIDENT WITH ONE OF THEIR POTENTIAL INVESTORS.

“There was one investor we went to and we hit his car, parking,” Ethan said in My First Movie. “And we had this big debate out on the driveway [about] whether we should tell him we hit his car before the sales pitch or after the sales pitch. We decided that we wouldn’t tell him until we showed him the movie and made the sales pitch.” The investor decided against investing in the film.

10. FRANCES MCDORMAND REFUSED TO BE “THEATRICAL” IN THE MOVIE.

John Getz and Frances McDorman in 'Blood Simple' (1984)
Janus Films

Up until she starred in Blood Simple, the future Oscar-winner had mainly done theater and some TV. In an interview with William Dafoe for Bomb Magazine, she told him her approach to playing Abby Marty. “The only choice I made was not to be theatrical,” she said. “I never moved my face and my mouth’s always open like I’m terrified—I was a lot of the time. I just did whatever they told me to do, which was perfect for the character, but it’s not like I made that decision as a character choice. It was from not knowing what to do.”

11. JOEL COEN WOOED FRANCES MCDORMAND WITH LITERATURE.

Coen and McDormand fell in love while making Blood Simple and got married a couple of years later, after production wrapped. McDormand told The Daily Beast about the moment when she roped him in. “I’d only brought one book to read to Austin, Texas, where we were filming, and I asked him if there was anything he’d recommend,” she said. “He brought me a box of James M. Cain and Raymond Chandler paperbacks, and I said, ‘Which one should I start with?’ And he said, ‘The Postman Always Rings Twice.’ I read it, and it was one of the sexiest f*ckin’ books I’ve ever read. A couple of nights later, I said, ‘Would you like to come over and discuss the book?’ That did it. He seduced me with literature. And then we discussed books and drank hot chocolate for several evenings. It was f*ckin’ hot. Keep it across the room for as long as you can—that’s a very important element.”

12. THE COENS RELEASED A SHORTER VERSION OF THE FILM.

Blood Simple got the Director’s Cut treatment in 2001, but instead of adding material to the re-release of the movie, the Coens removed a few minutes from it. “We always thought it was rather kind of clumsy, the editing,” Joel told Hollywood.com. “It was interesting to go in and try to tighten the movie up.” “Before, the original version was like an old lady with a walker, and now it just has a cane,” Ethan said. The newer version also brought back the Four Tops’ “It’s the Same Old Song,” which had been in the original theatrical release but had been replaced with Neil Diamond’s “I’m a Believer” in the VHS release.

13. THE COENS THINK THE MOVIE IS “PRETTY DAMN BAD.”

A scene from 'Blood Simple' (1984)
Janus Films

Fifteen years after Blood Simple’s release, the Coens reflected upon their first feature, in the 2000 book My First Movie. “It’s crude, there’s no getting around it,” Ethan said. “On the other hand, it’s all confused with the actual process of making the movie and finishing the movie which, by and large, was a positive experience,” Joel said. “You never get entirely divorced from it that way. So, I don’t know. It’s a movie that I have a certain affection for. But I think it’s pretty damn bad!”

14. ZHANG YIMOU REMADE THE FILM.

Director Zhang Yimou—who directed House of Flying Daggers and Heroremade Blood Simple in 2009 as A Woman, A Gun and A Noodle Shop. The move is set in a Chinese noodle shop in a desert, and in similar fashion, the plot centers on a man trying to kill his wife and her lover.

15. BLOOD SIMPLE BEGAT RAISING ARIZONA AND FARGO.

Two years after Blood Simple was released, the Coens wrote-directed their follow-up, Raising Arizona, which wasn’t anything like Blood Simple. “In essence, after having completed Blood Simple, we wanted to make something completely different,” Ethan said. “We didn’t know what, but we wanted it to be something funny that had a very quick rhythm. We also wanted to use Holly Hunter, who has been a friend of ours for a long time. So it really wasn’t the story that was the origin of the project, but Holly Hunter, her personality and, by extension, the character we had conceived for her to play. In contrast, Blood Simple took shape from an idea for a screenplay.” It should be noted Hunter provided her voice on an answering machine in Blood Simple.

More than a decade after Blood Simple came out, the Coens released Fargo. The Coens’ dealings with investors for Blood Simple inspired the film’s businessmen. “It was raising money for Blood Simple that we met all of these business guys who could wear the suits, get bundled up in the park and slog out in the snow and meet us in these, like, coffee shops,” Joel said in My First Movie. “We came back to that whole thing in Fargo: the car salesman, the guy who owns the bowling alley, you know, whatever.”

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