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Germans Declare Unrestricted U-boat Warfare

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 166th installment in the series. 

February 4, 1915: Germans Declare Unrestricted U-boat Warfare 

After implementing a naval blockade of Germany and Austria-Hungary in August 1914, as the war dragged on the British Admiralty added more and more products to the list of items considered “war contraband,” and hugely expanded the scope of the blockade by introducing the controversial doctrine of “continuous voyage,” allowing the Royal Navy to interdict neutral shipping headed for neutral countries (for example Holland or Denmark) if the cargo was eventually destined for the Central Powers. Meanwhile the British and French seized thousands of tons of German and Austro-Hungarian shipping, and many German ships were interned in neutral ports for the duration of the war. 

In November 1914 the Admiralty declared the North Sea a war zone, and by February 1915 German civilians were starting to feel the effects of blockade, although some trade continued and the blockade still wasn’t seriously impeding Germany’s war effort. Nonetheless the tightening British blockade prompted calls in Germany for retaliation against the enemy’s home front. U-boat warfare against British merchant shipping was a logical response, but on January 31, 1915 the Admiralty responded by instructing British ships to fly neutral flags in the war zone.

In addition to angering neutral countries like the U.S., who objected to the British using their flags as a war gambit, this move obviously presented the German high command with a dilemma: they could either call off the U-boat attacks, allowing British trade to proceed as before, or escalate the attacks to include all vessels flying neutral flags—inevitably sending a good number of neutral ships to the bottom and risking a major rupture with the U.S. and others. 

Despite warnings from the foreign ministry the German high command made the momentous decision to escalate, publishing the following decree on February 4, 1915: 

All the waters surrounding Great Britain and Ireland, including the whole of the English Channel, are hereby declared to be a war zone. From February 18 onwards every enemy merchant vessel found within this war zone will be destroyed without it always being possible to avoid danger to the crews and passengers. Neutral ships will also be exposed to danger in the war zone, as, in view of the misuse of neutral flags ordered on January 31 by the British Government, and owing to unforeseen incidents to which naval warfare is liable, it is impossible to avoid attacks being made on neutral ships in mistake for those of the enemy. 

Mindful of the need to keep Dutch trade routes open for its own supplies, the German admiralty created a safe zone for shipping to Holland: “Navigation to the north of the Shetlands, in the eastern parts of the North Sea and through a zone at least thirty nautical miles wide along the Dutch coast is not exposed to danger.” 

For their part the British responded by immediately declaring all grain and flour war contraband, meaning basic food supplies were now subject to interdiction as wellanother step towards what became known as the “starvation blockade,” which ended up killing somewhere between 400,000 and 800,000 German civilians by the end of the war.

However the most intense period of the British blockade and retaliatory German U-boat warfare lay in the future. In 1915 the British blockade remained fairly inefficient, enforced by a handful of outdated cruisers patrolling between Scotland and Norway, and the British were still leery of offending neutral opinion, especially in the U.S., by seizing large numbers of their merchant ships. For their part the Germans’ first experiment with unrestricted U-boat warfare came to an end following diplomatic protests by the U.S. after the sinking of the Lusitania in May 1915. It wouldn’t resume again until 1917, when the German U-boat fleet had tripled in size. 

Turks Defeated at Suez Canal

Following the debacle at Sarikamish in January 1915, on February 3-4 the Ottoman Empire’s second major offensive also ended in defeat with the failure of the Fourth Army’s assault on the Suez Canal. 

To be fair it is pretty remarkable this ambitious plan got as far as it did. Under pressure from their German allies, who hoped to cut Britain’s lifeline to India through the Mediterranean and Suez Canal (or at least distract the British with this threat), from November 1914 to January 1915 the Turks assembled the new army in Syria and then marched south to Palestine, with propaganda proclaiming the imminent liberation of Egypt (Egypt had technically been an Ottoman province under British protection until December 1914, when the British finally annexed it). 

Considering the logistical difficulties presented by Palestine, at that time a backwards backwater of the Ottoman Empire with bad roads and almost no rail links, Fourth Army commander Djemal Pasha and his German “colleague” Kress von Kressenstein (“boss” might have been more accurate) were quite successful in marshaling their forces (above, Turkish troops marshaling for the advance). A fair amount of chaos still prevailed, according to Alexander Aaronsohn, a Jewish Zionist settler who witnessed the Turkish preparations in southern Palestine:

Beersheba was swarming with troops. They filled the town and overflowed on to the sands outside, where a great tent-city grew up… From all over the country the finest camels had been “requisitioned” and sent down to Beersheba until, at the time I was there, thousands and thousands of them were collected in the neighborhood… no adequate provision was made for feeding them, and incredible numbers succumbed to starvation and neglect. Their great carcasses dotted the sand in all directions… The soldiers themselves suffered much hardship. The crowding in the tents was unspeakable… All things considered, it is wonderful that the Turkish demonstration against the canal came as near to fulfillment as it did.

Perhaps the most impressive achievement was the crossing of the Sinai Peninsula, with 20,000 Turkish troops advancing west across the desert in two main columns in just six daysa feat comparable with Alexander the Great’s crossing from Gaza to Pelusium in seven days, but with more heavy equipment, including artillery and pontoons to cross the canal. Unfortunately this rapid crossing failed to preserve the element of surprise, as the British were aware of Turkish preparations thanks to spies, and moonlight betrayed the final approach of the advance guard Turkish troops carrying pontoons on the night of February 3, 1915.    


Click to enlarge 

Meanwhile the British had reinforced their army in Egypt to a strength of 70,000 with troops from India, Australia, and New Zealand, including 30,000 guarding the 100-mile canal; even worse for the Turks, they had quietly moved a number of battleships into the canal to serve as ersatz artillery. In the early morning hours the British troops opened fire, repelling most of the attacking Turkish units. One squadron managed to deploy its pontoons and succeeded in crossing the canal, but the infantry were simply mowed down by machine guns and rifle fire on the far bank. An Armenian soldier who was present later confided in a Spanish diplomat in Jerusalem, Conde de Ballobar, that “he didn’t even shoot his rifle, since he did not know where he should shoot since he did not see a single Englishman. There were only warships, airplanes, and heavy caliber batteries, and at a range much greater than their cannons.”

By February 4, 1915 the main Turkish force was in retreat, having suffered relatively modest casualties of around 1,500 killed and taken prisoner out of the total force of 20,000. More important than the casualty count, however, was the total failure of the Egyptian Muslim population to rise up in rebellion against the British occupation forces, as the Ottomans had confidently predicted. The “jihad” declared by the Ottoman Sultan in November 1914 had failed to materialize.

See the previous installment or all entries.

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20 John Carpenter Quotes About Horror Movies
Amy Sussman/Getty Images for Tribeca Film Festival
Amy Sussman/Getty Images for Tribeca Film Festival

Though he’s made a variety of movies—from fantasy to science fiction films—John Carpenter will forever be known as a master of horror, thanks in large part to the role he played in reinventing the genre with 1978’s Halloween. To celebrate the award-winning filmmaker’s 70th birthday, we’ve gathered up 20 of his most memorable quotes about Hollywood.

1. ON THE DEFINITION OF HORROR

“Horror is a reaction; it's not a genre.”

—From a 2015 interview with Interview Magazine

2. ON THE RULES OF MOVIEMAKING

“I think the rules of filmmaking are essentially the same as they were since, I guess, The Birth Of A Nation. The way you make movies: long shot, close-up, camera movement, structure—it’s all the same. Not much has changed. But the technology of movies has vastly changed. From 35mm black-and-white to color, from nitrate film to safety film and now into digital—and yet we’re still breaking scenes into master shots and close-ups. The cinema narrative has not changed that much since the silent film.”

—From a 2015 interview with The A.V. Club

3. ON THE TWO TYPES OF HORROR STORIES

“There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don’t understand. Internal is the human heart.”

—From a 2011 interview with Vulture

4. ON THE IMPORTANCE OF NIGHT OF THE LIVING DEAD

“One movie that showed me it was possible to make a low-budget horror movie was Night of the Living Dead (1968). When I saw that, I was like, 'Wow, that's really effective, but it's obviously low budget.' They didn't have any money but they actually made something cool. That was inspirational to me when I was in film school.”

—From a 2015 interview with Interview Magazine

5. ON THE TRUTH ABOUT HOLLYWOOD

“Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamor associated with them. But the truth is, it's not like that. It's very different. It's hard work. If you were suddenly catapulted into that situation—without any training—you would say after it was over: 'Oh, God! You're kidding! You mean, this is what it's like? This is what they put you through?' Yes, as a matter of fact, it is like this—and it's often worse. People have tried to describe the film business, but it's impossible to describe because it's so crazy. You must know your craft inside out and then pick up the rules as you go along.”

—From an essay for Santa Fe Studios

6. ON THE HORROR OF WATCHING HIS OWN MOVIES

“I don't watch my films. I've seen 'em enough after cutting them and putting the music on. I don't ever want to see them again.”

—From a 2012 interview with Entertainment Weekly

7. ON THE EMOTIONAL TOLL MAKING MOVIES CAN TAKE ON A DIRECTOR

“I’ve been feeling old for years and years, and I think the movie business did it to me. At one point I just did movie after movie, and it starts tearing you down physically—emotionally too, if you do one after another. The stress, the emotional exertion of dealing with others. I’ve worked with really great actors and really difficult actors. The difficult ones are no fun. And the style of the movies today have changed a great deal. To me, I’m not a big fan of handheld. That’s just my tastes. That’s a quick fix for low budget. Let the operator direct it! Walk around. That’s how you burn through the pages. And found footage—how many times do we need to do that?”

—From a 2014 interview with Deadline

8. ON WHAT MAKES A GOOD HORROR FILM

“There’s a very specific secret: It should be scary.”

—From a 2015 interview with The A.V. Club

9. ON THE PERCEPTION OF A MOVIEMAKER

“In England, I'm a horror movie director. In Germany, I'm a filmmaker. In the U.S., I'm a bum.”

—From The Films of John Carpenter

10. ON STANDING OUT

“I don't want to be in the mainstream. I don't want to be a part of the demographics. I want to be an individual. I wear each of my films as a badge of pride. That's why I cherish all my bad reviews. If the critics start liking my movies, then I'm in deep trouble.”

—From an essay for Santa Fe Studios

11. ON MAINTAINING CONTROL

“My years in the business have taught me not to worry about what you can’t control.”

—From a 2007 interview with MovieMaker Magazine

12. ON HIS FAVORITE MOVIES

“I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever. The second category is films that I saw while I was learning the craft of motion pictures.”

—From a 2011 interview with Rotten Tomatoes

13. ON BEING STUCK IN THE 1980S

“Well, They Live was a primal scream against Reaganism of the '80s. And the '80s never went away. They're still with us. That's what makes They Live look so fresh—it's a document of greed and insanity. It's about life in the United States then and now. If anything, things have gotten worse.”

—From a 2012 interview with Entertainment Weekly

14. ON THE IMPORTANCE OF INSTINCT

“I think every director depends primarily on his instincts. That’s what’s got him where he is, what’s going to carry him through the good times and the bad. I generally go with what I instinctually think I can do well.”

—From a 2011 interview with Vulture

15. ON BEING TYPECAST AS A DIRECTOR

“I haven't just made horror. I've made all sorts of movies. There have been fantasy movies, thrillers, horrors, science fiction. In terms of the ultimate reward, listen, man, when I was a kid, when I was 8 years old, I wanted to be a movie director, and I got to be a movie director. I lived my f*cking dream, you can't get better than that. That's the ultimate.”

—From a 2015 interview with Interview Magazine

16. ON THE REALITY OF MONSTERS

“Monsters in movies are us, always us, one way or the other. They’re us with hats on. The zombies in George Romero’s movies are us. They’re hungry. Monsters are us, the dangerous parts of us. The part that wants to destroy; the part of us with the reptile brain. The part of us that’s vicious and cruel. We express these in our stories as these monsters out there.”

—From a 2011 interview with the Buenos Aires Herald

17. ON MOVIES AS A SENSORY EXPERIENCE

“A movie’s not just the pictures. It’s the story and it’s the perspective and it’s the tempo and it’s the silence and it’s the music—it’s all the stuff that’s going on. All the sensory stuff. Sometimes you can get a lot of suspense going in a non-horror film. It all depends. But, look, if there was one secret way of doing a horror movie then everybody would be doing it.”

—From a 2015 interview with The A.V. Club

18. ON THE UNIVERSAL LANGUAGE OF HORROR

"Horror is a universal language; we're all afraid. We're born afraid, we're all afraid of things: death, disfigurement, loss of a loved one. Everything that I'm afraid of, you're afraid of and vice versa. So everybody feels fear and suspense. We were little kids once and so it's taking that basic human condition and emotion and just f*cking with it and playing with it. You can invent new horrors."

—From a 2015 interview with Interview Magazine

19. ON THE REMAKE TREND

“It’s a brand new world out there in terms of trying to get advertising. There’s so much going on that if you come up with a movie that people have never heard of they don’t pay attention to it—no matter how good it is. So it becomes, 'Let’s remake something that maybe rings a bell and that you’ve heard of before.' That way, you’re already ahead. I’m flattered, but I understand what’s going on. They’re picking everything to remake. I think they’ve just run down the list of other titles and have finally got to mine.”

—From a 2007 interview with MovieMaker Magazine

20. ON THE LASTING INFLUENCE OF HALLOWEEN

“I didn’t think there was any more story [to Halloween], and I didn’t want to do it again. All of my ideas were for the first Halloween—there shouldn’t have been any more! I’m flattered by the fact that people want to remake them, but they remake everything these days, so it doesn’t make me that special. But Michael Myers was an absence of character. And yet all the sequels are trying to explain that. That’s silliness—it just misses the whole point of the first movie, to me. He’s part person, part supernatural force. The sequels rooted around in motivation. I thought that was a mistake. However, I couldn’t stop them from making sequels. So my agents said, ‘Why don’t you become an executive producer and you can share the revenue?’ But I had to write the second movie, and every night I sat there and wrote with a six-pack of beer trying to get through this thing. And I didn’t do a very good job, but that was it. I couldn’t do any more."

—From a 2014 interview with Deadline

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15 Surprising Facts About Half Baked
Universal Pictures
Universal Pictures

You may have known these facts about Half Baked—Tamra Davis's stoner comedy starring Dave Chappelle, Guillermo Díaz, and Jim Breuer—at one point. But it’s easy to see how the film, which was released 20 years ago, could make viewers a little forgetful.

1. THE SCRIPT WAS A TEAM EFFORT.

Half Baked was written by star Dave Chappelle and his writing partner Neal Brennan. Five years later, the duo would go on to co-create Chappelle’s Show for Comedy Central. (Brennan even has a cameo in Half Baked as the cashier at the burger joint where Scarface works.)

2. NEW YORK CITY WAS A KEY INSPIRATION.

Chappelle was inspired to write Half Baked after a friend told him about New York City drug dealers who conveniently deliver illicit substances to customers’ apartments.

3. THE OPENING SCENE WAS A RISK FOR THE STUDIO.

The studio originally wanted to cut the opening scene showing kids smoking marijuana and getting the munchies, but decided to keep it after audiences at test screenings found it hilarious.

4. DIRECTING IT WAS A NO-BRAINER FOR TAMRA DAVIS.

Tamra Davis
Francois Durand/Getty Images

It's a good thing that opening scene stayed in, as it's what sold Tamra Davis on the project. In fact, she only read 10 pages of Chappelle and Brennan’s script before accepting the directing job.

"The reason why I wanted to do this movie was because the opening scene is so funny," she told Mass Appeal in 2017. "And they were like, 'No, it sends a bad message, kids smoking pot.' I was like, 'Can I screen the movie? Nobody’s ever seen this movie, can we look at it first and see how the movie plays before you guys start giving me cuts?'"

5. THE FILM HAS A MUSIC VIDEO PEDIGREE.

Davis is also humorously listed as the director of Sir Smoka Lot’s “Samson Gets Me Lifted” music video in the film. Prior to directing feature films like Half Baked and Billy Madison, Davis directed more than 30 actual music videos, including Tone Lōc’s “Wild Thing” and Hanson’s “MMMBop.”

6. MOST OF "NEW YORK" IS REALLY TORONTO.

The film was shot over 40 days, primarily in Toronto. Three days of exterior shooting were done in New York to feature landmarks like Washington Square Park.

7. PRODUCERS PULLED OUT ALL THE STOPS ON CAMEOS.

Tracy Morgan makes a cameo as the VJ who introduces Sir Smoka Lot’s music video. Other cameos in the film include Jon Stewart, Tommy Chong, Willie Nelson, Snoop Dogg, Janeane Garofalo, and Bob Saget.

8. THERE WAS A REAL GUY ON THE COUCH.

The Guy on the Couch was inspired by a friend of Chappelle’s who constantly crashed on Chappelle’s couch while he and Brennan toiled away at writing the screenplay. In the film, the role of the Guy went to comedian Steven Wright.

9. THE BEASTIE BOYS INSPIRED THE FILM'S DESIGN.

Davis drew inspiration of the prop and color design of the guys’ apartment from the Beastie Boys’ Grand Royal Recording Studios. The connection makes sense, as Davis was married to Mike D of the Beastie Boys.

10. THE PRISON HAD VERY CLEAN WATER.

The exterior of the prison where Kenny is locked up is actually the R.C. Harris Water Treatment Plant in Toronto. (The same facility played the role of Elsinore Brewery in 1983's Strange Brew.)  Some prison interiors, including the cafeteria scenes, where shot in an actual prison.

11. THE DIRECTOR HAS A TINY CAMEO.

All the acting with Killer’s fake dog paws was done on-set by Davis.

12. THE CAST GOT GREAT SOUVENIRS.

Many members of the cast and crew kept blocks of the fake medicinal marijuana as a joke after production wrapped.

13. NO, THAT'S NOT JERRY GARCIA.

Despite rumors to the contrary, Jerry Garcia did not appear in Half Baked. Garcia is played by impersonator David Bluestein.

14. ALL THAT "POT" WAS TOBACCO.

The actors smoked a tobacco-based substitute to stand in for marijuana in the film (though there are some rumors that the scene featuring Snoop Dogg featured real marijuana).

15. IT ALMOST HAD A DARKER ENDING.

The original ending of the movie was supposed to be much darker. In it, Thurgood abandoned his girlfriend Mary Jane and jumped off the Brooklyn Bridge after the joint he threw away.

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