CLOSE

Disaster At Loos

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 203rd installment in the series.   

September 25-28, 1915: Disaster at Loos 

The bloodiest defeat suffered by the British so far in the First World War, Loos was a monument to the incredible bravery of British soldiers and the confusion or outright incompetence of their commanders. The attack proceeded despite a general acknowledgement that British artillery faced a dire shortage of artillery shells, using thousands of new, totally untested troops, and involving the first (also untested) British use of poison gas in the war. In short it was a recipe for disaster, and that is what they got. 

The assault would be carried out by the British First Army under General Douglas Haig, as part of French chief of the general staff Joseph Joffre’s ambitious plan calling for simultaneous attacks by the French Tenth Army in Artois and the French Third and Fourth Armies in Champagne. Together, Joffre hoped these coordinated offensives would form the arms of a giant pincer, cutting off the German armies in northern France.

The British First Army was composed of the I Corps and IV Corps, which would carry out the initial attack, and XI Corps, held in reserve to exploit the hoped-for strategic breakthrough. The I Corps, under Hubert Gough, consisted of the 2nd Division, 7th Division, and 9th Division; the IV Corps, under Henry Rawlinson, the 1st Division, 15th (Scottish) Division, and 47th (London) Division; and the XI Corps, under Richard Haking, the 12th (Eastern) Division, 21st Division, 24th Division, 46th (North Midland) Division, and the Guards Division, as well as the Cavalry Corps – although only the 21st and 24th Divisions were available when the battle began. 

The six divisions in the I and IV Corps who would lead the attack were given a daunting task. Although they enjoyed a two-to-one advantage over the Germans to begin with, the terrain was extremely unfavorable for an attack on the well-entrenched defenders: across the battlefield the German trenches were at least two hundred yards away from the British trenches, and in some places as much as 4,000 yards – all over a flat, featureless plain gently sloping upwards to elevated German positions, giving the latter an ideal vantage point for artillery spotting. 

After a final bombardment which mostly failed to cut the barbed wire in front of the German trenches (above), at dawn on September 25, 1915, the British opened 5,500 cylinders containing over 150 tons of chlorine gas, relying on prevailing winds to carry the gas over the German lines – but the weather failed to cooperate, and on the British left the gas swept back over the British lines, causing 2,200 casualties before the attack even began. 

Following this distinctly unpromising start, the British attack fell prey to further confusion, as some troops couldn’t hear the orders to attack over the incredible din of the artillery: the 15th (Scottish) Division, assigned to cross 1,500 yards to capture Loos itself, only realized it was time to attack when the division’s bagpiper marched along the parapet of the trench, piping them to battle – an incredible act of bravery for which he later received the Victoria Cross.

The troops who went over the top found themselves in a surreal and supremely dangerous scene, advancing across flat, open fields behind the gas cloud, mingling with smoke from artillery shells and lit by flares and “star shells,” while German machine guns and rifles crackled (top). One soldier in the London Irish of the 47th Division, Patrick MacGill, recalled: 

The air was vicious with bullets; a million invisible birds flicked their wings very close to my face. Ahead the clouds of smoke, sluggish low-lying fog, and fumes of bursting shells, thick in volume, receded towards the German trenches, and formed a striking background for the soldiers who were marching up a low slope towards the enemy’s parapet, which the smoke still hid from view. 

Even more bizarre, to show their disdain for danger the London Irish of the 47th Division dribbled a football across no man’s land as they advanced (below). 

Another soldier, John Jackson of the Scottish 6th Camerons, remembered the advance on Loos, where he states they killed Germans trying to surrender: 

In short rushes we kept on, grim and determined, through a tangled growth of long grass, till we came to the enemy front line… In spite of growing losses in our own ranks we kept on driving the Germans before us and soon had them on the run for the village, and here they set up a desperate defence. Their machine guns took a terrible toll from our thinning ranks, but still we hung on till we were again in hand-to-hand conflict with them. From house to house, and cellar to cellar, we hunted them. Machine-gunners slaying us from their hidden posts, threw up their hands crying “Kamerad”, when we got within striking distance, but they deserved and received no quarter. Cold steel and bombs did their duty then, and the village was strewn with dead and running with blood. 

The attackers suffered breathtaking casualties, as thousands were gunned down in the barbed wire entanglements, with the 47th Division, 7th Division, and 9th Division suffering especially heavy losses; the 9th Division was tasked with capturing a fortress-like complex called the Hohenzollern Redoubt, while the 7th Division had to capture another strongpoint called “The Quarries.” But despite the appalling losses, through sheer willpower they succeeded in capturing the German trenches along a stretch 4.5 miles long and up to two miles deep. 

The battle had reached a critical moment, and decisions now would later stir enormous controversy: Haig and Gough both claimed that if they had been able to employ the 21st Division and 24th Division, held in reserve, to follow up the gains of the 9th Division on the afternoon of September 25, they would have completed the strategic breakthrough and shatter the German front. However British Expeditionary Force commander Sir John French refused to allow them to use the reserves at first, fearing a sudden German counterattack and arguing that the first wave troops should be able to carry the offensive through to the end. 

As a result, the reserves didn’t arrive at the front until the evening of September 25 and didn’t go into action until the following day – a crucial delay which gave the Germans a chance to rush reinforcements to plug the gap in their lines. Overnight seven new German divisions arrived and dug in along new defensive positions, including a long, low hill east of Loos called “Hill 70.” Much of the fighting over the following days would be a futile contest for control of the hill. 

One of the British reinforcements, W. Walker, recalled moving up the frontline positions in heavy autumn rain, which turned the battlefield into a quagmire, and seeing the ruins of Loos on the night of September 25 (above): 

It began to grow dark. Vivid wicked flashes could be seen and bright dazzling balls of red, green, and yellow light illuminated the flattish land in front… After stumbling on for another half-hour, sometimes up to the knees in liquid mud, I could observe by the light of the sky signals the ruined outline of a village. It was Loos. The moon now shone revealing the roofless walls of the houses, the open spaces where houses had once stood, marked by heaps of rubble. The village was slowly vanishing under the pounding of the guns. A German trench ran along the side of the street. 

Another one of the reinforcements, James N. Hall, recalled the chaotic scene as they waited to move forward through the unfamiliar trenches: 

We halted to wait for our trench guides at the village of Vermelles, about three miles back of our lines. The men lay down thankfully in the mud and many were soon asleep despite the terrific noise. Our batteries, concealed in the ruins of houses, were keeping up a steady fire and the German guns were replying almost as hotly. The weird flashes lit up the shattered walls with a fascinating, bizarre effect. By their light, I saw men lying with their heads thrown back over their pack-sacks, their rifles leaning across their bodies; others standing in attitudes of suspended animation. The noise was deafening.

Unbeknownst to them, the men of the 21st Division and 24th Division were in for an even more brutal reception than the first wave of attackers (most of them so depleted they could contribute little to the second push). The assault on Hill 70 began at 11 am on September 26, and by nightfall the 21st Division and 24th Division were basically destroyed, while the 1st Division, assigned to capture the nearby village of Hulluch, was in tatters. Walker recalled the attack on German positions on Hill 70:

The shell-fire was deafening enough, but the clatter that commenced with our further advance was abominable. It was as if the enemy were attacking with a fleet of motorcycles – it was the hellish machine guns. I saw no foe. Where he was I couldn’t gamble: somewhere in front, how distant or how near no one seemed to know. The firing was indescribably fierce; an invisible hail of lead winged past my ears unceasingly; one flicked my sleeve. How pitiful it is to recall. Our chaps fell like grass under the mower, mostly shot in the guts… Groans and shouting were added to the clamour. 

At some point in the afternoon Walker became a casualty as well: 

A bullet hit me; I feel its sharp sting yet; it felled me to the ground… it had pierced a hole in my right elbow. There was nothing for it but to walk, and, although the fire was growing intense, I managed to dodge the rest… It took me a long time to get to the casualty clearing station. There appeared to be hundreds of wounded all making for the same place… On arrival at the dressing station, came inoculation against tetanus; two delirious days spent in a ruined byre awaiting the ambulance. 

The experience of lying out in the open for days, either waiting for stretcher bearers or an ambulance, was a common one for wounded men at Loos, as at other battles. Harold Peat, a Canadian private, remembered lying wounded in the ruins of a farmhouse for two days before he was rescued: “I never lost consciousness. Darkness came and dawn. Another day went by and the shelling went on as before. Another night, another dawn and then two Highland stretcher-bearers came in.” Meanwhile troops occupying the captured German trenches confronted gruesome tasks, as described by Hall: “Many of the men had been literally blown to pieces, and it was necessary to gather the fragments in blankets. For weeks afterward we had to eat and sleep and work and think among such awful sights. We became hardened to them finally.” 

The last available reserve, the Guards Division, arrived to reinforce the beleaguered British troops on Hill 70 on September 27, but it was far too late to restore the momentum of the offensive. On September 28 the British positions had stabilized in a new defensive line, although the Germans succeeded in recapturing the Hohenzollern Redoubt on October 3rd. By October 8th, when a German counterattack failed, the Battle of Loos was effectively over. 

To the east the French offensive in Champagne was also grinding to a halt amid similar scenes of carnage and suffering. At first the French, who had a much larger supply of artillery shells than the British, succeeded in destroying the German frontline trenches – but the attack was frustrated by barbed wire in front of the German reserve trenches which lay behind. Mildred Aldrich, an American woman living in a small French village, transcribed a letter from a French soldier describing the French attack: 

At daybreak the bombardment recommenced--a terrible storm of shells of every calibre--bombs, torpedoes [mortar shells]--flew overhead to salute the Boches, and to complete the destruction which had been going on for three days… All along our front, in both directions, all we could see was a thick cloud of dust and smoke… Once there I seem to remember nothing in detail. It was as if, by enchantment, that I found myself in the midst of the struggle, in heaps of dead and dying. When I fell, and found myself useless in the fight, I dragged myself, on my stomach, towards our trenches. I met stretcher-bearers who were willing to carry me, but I was able to crawl, and so many of my comrades were worse off, that I refused. I crept two kilometres like that until I found a dressing-station. I was suffering terribly with the bullet in my ankle. They extracted it there and dressed the ankle, but I remained, stretched on the ground, two days before I was removed, and I had nothing to eat until I reached here yesterday--four days after I fell. But that could not be helped. There were so many to attend to. 

Edmond Genet, an American volunteering with the French Foreign Legion, described the effects of the French artillery bombardment in Champagne: 

The bombardment of the German trenches before the charge was terrific. The German line looked like a wall of fire and hellish flames from the bursting shells… We followed up the Colonials and passed part of the late morning in the captured German trenches. They were battered beyond description and filled with dead – mostly Germans… The sight of the dead lying about was awful. Most of them had been literally torn to pieces by the exploding shells. The sight of one will never pass from my memory. A Colonial was in a sitting posture against a small embankment. There was an expression of agonizing terror on his features, and no wonder, for below his waist he had been blown to shreds. One of his feet, the only thing recognizable of his lower anatomy, was lying several yards in front of him. I think we all shuddered as we passed.

Like the British, the French offensive also suffered from a failure to bring up reinforcements in time, according to the soldier Louis Barthas, who described the unnerving experience of trying to navigate through unfamiliar trenches filled with wounded men: 

We passed through the ruined village of La Targette; then we got caught up in an entanglement of trenches, crossing and recrossing the same places without finding the right path. We came upon men, isolated or in small groups, heading to the rear. Most gave no response to our questions. Others exclaimed, “The poor guys, the poor guys…” or “It’s horrible, frightful.” They seemed half-crazy… Soon whole battalions and companies were getting mixed up in an inextricable confusion… 

In a letter home Genet painted a picture of abject misery as the French offensive petered out in the final days of September: 

We continued on our advance until darkness set in and lay all that night in a drenching rain in watery mud. Sleep was practically impossible. Shells were dropping around us every few minutes and anyway the horrors of the day just closed were too awful to allow pleasant dreams or even sleep to follow. All night the cries of the dying could be heard. I felt as though I were in some weird nightmare. I wish it had been, for then I could have awakened and found it to be only a dream. 

The Allied losses were staggering: the British suffered 60,000 casualties, including 11,000 dead (among them Rudyard Kipling’s son John), while the French suffered 192,000 casualties, presumably with a similar proportion killed in action. According to the British soldier Jackson, “The losses of the division ran into the thousands and our own battalion had lost 700 out of 950 who went into action.” Genet, in the French Foreign Legion, estimated: “In an attack we made on September 28, out of our company of 250 there are not quite 60 left…” The Germans sustained around 150,000 casualties. 

British and French newspapers did their best to paint the fall offensive as a great victory, but ordinary people were fast becoming inured to official propaganda. Aldrich later wrote in her diary: “For several days our hearts were high. Then there began to creep into the papers hints that it had been a gallant advance, but not a great victory, and far too costly, and that there had been blunders…” And the British diarist Vera Brittain remembered the slow dawning of reality on the home front:

“Two Real Victories at Last!” announced the Daily Mail in exuberant headlines… Gradually, after a few days in which the awful sluggishness of the hours seemed a specially devised torture of hell, came the usual apologetic modifications of our “great victory,” and, still later, the lists showing that price that we had paid for this sorry achievement. The country, though growing accustomed to horror, staggered at the devastating magnitude of the cost of Loos. 

See the previous installment or all entries.

Original image
Tim P. Whitby/Getty Images
arrow
entertainment
30 Facts About Your Favorite Martin Scorsese Movies
Original image
Tim P. Whitby/Getty Images

In the pantheon of iconic American film giants, Martin Scorsese gets to sit at the head of the table and carve the turkey. In a career spanning 50 years, he has created some of the most visually spectacular and quote-worthy material ever put on celluloid. To celebrate the auteur’s 75th birthday, here are 30 facts about some of your favorite Scorsese movies. Ready? Great… now go home and get your #@$%ing shinebox!

1. MUCH OF THE MEAN STREETS BUDGET WENT TO ITS SOUNDTRACK.

Clearing songs for 1973's Mean Streets ate up almost half of the film's $500,000 budget. Staying true to his well-documented love of rock, Scorsese used tunes by The Ronettes, Eric Clapton, and The Rolling Stones for the soundtrack. “For me, the whole movie was 'Jumping Jack Flash' and 'Be My Baby,'" the director said in Scorsese on Scorsese.

2. LAURA DERN HAD A TINY ROLE IN ALICE DOESN’T LIVE HERE ANYMORE.

Future Oscar nominee Laura Dern made one of her earliest, albeit uncredited, appearances toward the end of Alice Doesn’t Live Here Anymore. Working alongside her mother, Diane Ladd, Dern—who was seven years old at the time—played a little girl eating a banana-flavored ice cream cone at Mel’s Diner. It took 19 takes to get the shot, which required Dern to consume 19 ice cream cones. Impressed by the budding actress, Scorsese told Ladd that “if she doesn’t throw up after [19 takes’ worth of cones], this girl is ready to be an actress.”

3. THE “YOU TALKIN’ TO ME?” SCENE FROM TAXI DRIVER CAME FROM BRUCE SPRINGSTEEN.

Robert De Niro improvised that whole paranoid monologue, including what would become the movie’s most famous line. (The film's screenwriter, Paul Schrader, later said, “It’s the best thing in the movie, and I didn’t write it.”) De Niro got the line from Bruce Springsteen, whom he’d seen perform in Greenwich Village just days earlier, at one in a series of concerts leading up to the release of Born to Run. When the audience called out his name, The Boss did a bit where he feigned humility and said, “You talkin’ to me?” Apparently it stuck in De Niro’s mind.

4. MUCH OF NEW YORK, NEW YORK WAS IMPROVISED (WHICH MAY HAVE BEEN ITS DOWNFALL).

In 1977, Scorsese released New York, New York. What was meant to be an epic musical turned out to be one of the director’s biggest bombs, due partly to the fact that the normally very regimented director decided to take a more improvisational approach to the film. “I tried to have no idea at all what I was going to do, as much as possible, on the day of shooting—as opposed to having a fairly strong idea of what I was going to do,” he said. “I was really testing the limits … I had a very chaotic style, on purpose, on New York, New York. And I found it didn't work for me."

5. A LOT OF FAMOUS CINEMATOGRAPHERS WERE INVOLVED IN THE MAKING OF THE LAST WALTZ.

The seven 35mm camera operators who shot The Last Waltz, Scorsese's 1978 concert documentary, included Michael Chapman (Taxi Driver, Raging Bull), Vilmos Zsigmond (Close Encounters of the Third Kind, The Deer Hunter), and László Kovács (Easy Rider, Five Easy Pieces). Scorsese and Robbie Robertson (who also served as a producer) came up with a 300-page shooting script of diagrams and text that assigned the camera positions with the music lyrics and cues. According to the film's production notes, it was the first music documentary made on 35mm.

6. JOE PESCI WAS RUNNING AN ITALIAN RESTAURANT WHEN SCORSESE AND ROBERT DE NIRO APPROACHED HIM ABOUT RAGING BULL.

Joe Pesci had been a professional actor and musician (he sang and played guitar) off and on since childhood, but he called it quits in the 1970s. His 1975 Broadway show with comedy partner Frank Vincent (whom he would later recruit to play Salvy in Raging Bull) had closed after a week, and his first movie, 1976’s The Death Collector (also featuring Vincent), was a flop. But Robert De Niro happened to see that film in 1978, and was so impressed by Pesci’s performance that he pitched him to Scorsese. The two tracked Pesci down and called him at his restaurant to coax him out of showbiz retirement to co-star in Raging Bull.

7. SCORSESE INITIALLY DIDN’T SEE HOW THE SCRIPT FOR THE KING OF COMEDY WOULD WORK AS A MOVIE.

Robert De Niro passed Paul D. Zimmerman’s script for The King of Comedy on to Scorsese, hoping that he could interest him in directing it. "I didn't get it," Scorsese later admitted. "The script is hilarious. But the movie was just a one-line gag: You won't let me go on the show, so I'll kidnap you and you'll put me on the show.” Eventually, he came to see how it could be turned into a feature.

8. GRIFFIN DUNNE HAD TO GIVE UP, WELL, PRETTY MUCH EVERYTHING TO STAR IN AFTER HOURS.

In order to capture the desperation and paranoia to play word processor Paul Hackett in After Hours (1985), Scorsese gave star Griffin Dunne some very specific instructions. “I was at a symposium with Marty Scorsese and he said, ‘I really had to be hard on Griffin for this part. I said, no sex, no going out, none of it,’” Cher told People at the movie’s after-party. “It must have worked,” she added. “He’s so good at being frustrated.”

9. IT WAS PAUL NEWMAN WHO APPROACHED SCORSESE ABOUT THE COLOR OF MONEY.

Walter Tevis had written the book The Hustler and its sequel, The Color of Money, yet Paul Newman didn’t care for the adapted screenplay to the latter. So Newman went to Scorsese, as he was a fan of his work, particularly Raging Bull, which he felt had a similar tone to what The Color of Money should be.

10. SCORSESE GOT THE IDEA FOR GOODFELLAS WHILE SHOOTING THE COLOR OF MONEY.

In a rare moment of downtime on The Color of Money set, "I read a review of [Nicholas Pileggi's] Wiseguy ... and it said something about this character Henry Hill having access to many different levels of organized crime because he was somewhat of an outsider," Scorsese told Rolling Stone. "He looked a little nicer. He was able to be a better frontman and speak a little better. I thought that was interesting, because you could get a cross section of the layers of organized crime—from his point of view, of course. So I got the book, started reading it and was fascinated by the narrative ability of it."

11. THE FAMOUS “FUNNY HOW?” SCENE IN GOODFELLAS WASN’T IN THE SCRIPT.

The most famous (and certainly the most quoted) scene in Goodfellas comes at the beginning, when Pesci's Tommy DeVito jokingly-yet-uncomfortably accosts Henry Hill (Ray Liotta) for calling him "funny." In addition to being the driving force behind the scene on screen, Pesci is also responsible for coming up with the premise.  

While working in a restaurant, a young Pesci apparently told a mobster that he was funny—a compliment that was met with a less-than-enthusiastic response. Pesci relayed the anecdote to Scorsese, who decided to include it in the film. Scorsese didn't include the scene in the shooting script so that Pesci and Liotta’s interactions would elicit genuinely surprised reactions from the supporting cast.

12. STEVEN SPIELBERG TRADED CAPE FEAR TO MARTIN SCORSESE FOR THE RIGHTS TO SCHINDLER'S LIST.

Scorsese was set to direct Schindler's List, but was apprehensive about making it after the controversy surrounding his previous two films, Goodfellas and The Last Temptation of Christ. At the same time, Steven Spielberg was set to make Cape Fear, but decided that he "wasn't in the mood" to make a movie about a "maniac." So they traded projects. Spielberg had Bill Murray in mind to play Max Cady. Scorsese had other ideas.

13. THE CASINO OPENING TITLES WERE DESIGNED BY THE LEGENDARY SAUL BASS.

Saul Bass is certainly the most famous (and possibly the only) well-known designer of opening credit sequences, with more than 50 to his name. If there was a movie in the '50s or '60s with distinctive opening titles, odds are good that it was Bass's work, often in conjunction with his wife, Elaine. (Among them: Vertigo, Psycho, North by Northwest, West Side Story, Spartacus, and It's a Mad, Mad, Mad, Mad World.) Bass did the titles for Scorsese's Goodfellas, Cape Fear, The Age of Innocence, and Casino, which turned out to be the final film of his career. He died five months after the film opened, at the age of 75. 

14. GANGS OF NEW YORK WAS 32 YEARS IN THE MAKING.

Scorsese read Herbert Asbury’s 1928 nonfiction book The Gangs of New York: An Informal History of the Underworld in 1970 and immediately thought it would make a good movie. He didn’t have any money or clout yet though, so he had to wait. He bought the movie rights to the book in 1979, and even got a screenplay written around that time, then spent the next 20 years trying to get the project off the ground.

15. THE DEPARTED IS A REMAKE.

While Scorsese and screenwriter William Monahan claim they did not watch the 2002 Hong Kong action movie Infernal Affairs before making The Departed, the two films share more than a few similarities. Infernal Affairs director Andy Lau unsurprisingly prefers his own film, saying of The Departed, “Of course I think the version I made is better, but the Hollywood version is pretty good too.” 

16. “GIMME SHELTER” IS SCORSESE’S UNOFFICIAL GANGSTER THEME SONG.

Before The Departed, Scorsese had previously used the Rolling Stones song in Goodfellas and Casino. It seems Billy Costigan loves the Stones, too; the CD that he mails to Sullivan is housed in the case for the Rolling Stones album Exile on Main Street.

17. MEAN STREETS TOOK ITS TITLE FROM A RAYMOND CHANDLER ESSAY.

Originally titled Season of the Witch, the film’s name was changed to Mean Streets from a line from Raymond Chandler’s 1944 essay “The Simple Art of Murder.” Writing about the art of storytelling and plumbing the depths of humanity, Chandler wrote. “In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.”

18. DE NIRO WANTED TO MAKE RAGING BULL AS A PLAY, TOO.

This was in early 1978, before it was even written as a movie yet, when De Niro was collaborating with Mardik Martin to adapt LaMotta’s memoir, while simultaneously trying to convince a noncommittal and increasingly drug-addled Scorsese to take on the project. De Niro’s idea was to stage it as a Broadway play (to be directed by Scorsese), and then, during the run of the show, spend the daylight hours shooting the movie. De Niro liked the idea of the day’s filming influencing the way they performed the play that night. But Martin’s script wasn’t yet ready for either medium, and Scorsese was in no shape to do it then anyway. 

19. SCORSESE WAS WORKING ON NEW YORK, NEW YORK AT THE SAME TIME HE WAS MAKING THE LAST WALTZ.

Scorsese was supposed to be in New York editing the Liza Minnelli/Robert De Niro musical drama when he was in San Francisco preparing and shooting The Last Waltz. According to Scorsese, New York, New York producer Irwin Winkler was "very upset" when he learned this.

20. CHANDELIERS FROM GONE WITH THE WIND WERE USED ON THE LAST WALTZ.

The performance recorded for The Last Waltz was designed by Boris Leven, who has served as production designer on West Side Story (1961) and The Sound of Music (1965). Leven created a backdrop inspired by the films of Luchino Visconti (Death In Venice, The Leopard), borrowing props from the San Francisco Opera's production of La Traviata and chandeliers designed for Gone with the Wind. Robertson wasn't sold on the elaborate decor. He told Leven, "Chandeliers? I don't think that's going to go over with Neil or Bob or the rest of the musicians. These people don't do chandeliers, Boris."

21. THE FIRST SCENE SHOT FOR GOODFELLAS WASN’T DIRECTED BY SCORSESE. 

As you might know, the business of filming is rarely chronological—directors tend to jump scenes for cost, scheduling, and efficiency reasons. For Goodfellas, the scene that broke shooting ground was the intentionally low-budget Morrie’s Wigs commercial, which plays just before Henry and Jimmy hassle Morrie about a debt near the beginning of the film. To get the feel of the commercial right, Scorsese contacted Stephen R. Pacca, who had created his own ultra low-budget ads for his replacement window company, to write and direct the Morrie’s Wigs ad. 

22. REESE WITHERSPOON BLEW HER CAPE FEAR AUDITION. SO DID DREW BARRYMORE.

"It was my second audition ever," Witherspoon said in 1999. "My agent told me I'd be meeting Martin Scorsese. I said, 'Who is he?' Then he mentioned the name Robert De Niro. I said, 'Never heard of him.' When I walked in I did recognize De Niro, and I just lost it. My hand was shaking and I was a blubbering idiot.''

Drew Barrymore auditioned for the role, too, but believed she overacted for one of Scorsese's assistants. In 2000, she called the audition "the biggest disaster" of her life and said that Scorsese thinks she's "dog doo-doo" because of it.

23. GEORGE LUCAS HELPED WITH SCORSESE OUT WITH AN ELEPHANT PROBLEM FOR GANGS OF NEW YORK.


ROBYN BECK/AFP/Getty Images

The Star Wars creator, then working on Attack of the Clones, had visited the massive set in Rome and told Scorsese that it was probably the last of its kind, that such large re-creations would be done on computers now to save money. Lucas’s know-how in such matters came in handy later, when Gangs needed an elephant and none of the animal wranglers in Italy were able to produce one in time. So Scorsese called his old friend Lucas and asked for help: “We’re effed," Scorsese told Lucas. "We don’t have [an] elephant! Tell us how to shoot it!” Lucas, an old pro at such things, guided them through the process of filming without the elephant and having it digitally created later. It’s the only thing in the movie that’s completely computer-generated. 

24. SCORSESE WAS INSPIRED TO CAST GWEN STEFANI IN THE AVIATOR AFTER SEEING HER PICTURE ON THE SIDE OF A BUS SHELTER.

The Marilyn Monroe-inspired pictures, taken by Herb Ritts for a Teen Vogue cover, caught Scorsese's eye. Stefani told MTV the story, as she heard it from DiCaprio. “Martin Scorsese’s driving in New York City and he sees my Teen Vogue cover on the side of a bus stop shelter. And he’s like, ’Who’s that girl? Let’s get her!’ I had Leonardo DiCaprio tell me the whole story in Martin Scorsese’s voice, so it was pretty bizarre.” Stefani portrayed Jean Harlow; it was her first film role. 

25. BERNARD HERRMANN DIED JUST A FEW HOURS AFTER RECORDING THE MUSIC FOR TAXI DRIVER.

Scorsese was lucky to get Bernard Herrmann, a Hollywood legend who had scored Citizen Kane, Psycho, Cape Fear, North by Northwest, and dozens of others. Herrmann wrote the Taxi Driver score and conducted the recording sessions himself, finishing in Los Angeles on the evening of December 23, 1975. He retired to his hotel and died sometime during the night, officially Christmas Eve morning, at the age of 64. He was posthumously nominated for an Oscar. 

26. DANIEL DAY-LEWIS WAS TRAINED BY REAL BUTCHERS FOR GANGS OF NEW YORK, BECAUSE OF COURSE HE WAS.


Miramax

Ever the Method actor, Day-Lewis first took lessons from two Argentine brothers with a butcher shop in Queens, then from a master butcher specially flown in from London.

27. SCORSESE THREATENED TO TAKE HIS NAME OFF OF RAGING BULL OVER ONE MINOR SOUND ISSUE. 

Very late in the post-production process, when the film was due to premiere soon and Scorsese was still tinkering with the final sound mix, producer Irwin Winkler gave him a drop deadline: All work would cease at midnight on a certain night, and that would be it. When the hour arrived, Scorsese was obsessing over one minor line of dialogue someone says to a bartender —“Cutty Sark, please”—which he didn’t think was audible. Winkler told him too bad, we’ve got to send this thing out. Scorsese declared that if Winkler released the film this way, he wanted his name taken off it as director, because it no longer reflected his vision. Winkler said, “So be it.” Like all good producers, he knew that sometimes you have to let an overtired director throw a tantrum and say things he doesn’t really mean. Sure enough, Scorsese recanted sometime later.

28. SCORSESE AVOIDED AN X RATING ON TAXI DRIVER BY MAKING THE BLOOD LOOK MORE BROWN THAN RED. 

Scorsese desaturated the color in the film’s gorier scenes, rendering the blood less realistic and more like a black-and-white tabloid newspaper (without actually being black-and-white). Not only did it fit the lurid tone he was going for, it soothed the nerves of the ratings board. 

29. CATE BLANCHETT DID HER HOMEWORK FOR THE AVIATOR.


Miramax

At Scorsese's request, Blanchett watched all of Hepburn's first 15 movies for The Aviator. Blanchett also screened Hepburn's 1973 interview with Dick Cavett, read a memoir about her, took golf and tennis lessons, and took cold baths just like Hepburn. On June 29, 2003—the same day that Blanchett arrived on set for the first time—Hepburn passed away. "I picked up the paper thinking, 'Isn't it odd that Katharine Hepburn's on the cover?'" Blanchett recalled. "She had such a remarkable life, and then with her death, she was even more present in everyone's mind."

30. WE MAY NEVER KNOW WHAT THE REAL SAM “ACE” ROTHSTEIN ACTUALLY THOUGHT OF CASINO.

Lefty Rosenthal—the inspiration for Sam Rothstein, who died in 2008—said he only ever saw Casino once. If that's true, it was the screening of a rough cut that was also attended by Nicholas Pileggi. Pileggi sat with Rosenthal—they were the only ones in the screening room—and said Rosenthal's reaction was positive. But near the end of his life, when an interviewer mentioned that, "You only saw Casino once—and you don't like the movie," Rosenthal replied that "It lacked the detail of what I did. There are scenes where the Rosenthal character repeated the same thing twice. I would only tell you to do something one time—that's all I needed. And there was that scene that still angers me when I think of it—I never juggled on The Frank Rosenthal Show. I resent that scene. It makes me look foolish. And I only did that TV show [at] the behest of the chairman of the board of the Stardust so that the public would realize I was a decent guy and not a mobster as portrayed by the media covering us at the time.” Did Rosenthal change his mind over time? Did Pileggi misinterpret his initial reaction? We'll never know.

Original image
20th Century Fox
arrow
entertainment
25 Things You Might Not Know About Home Alone
Original image
20th Century Fox

On November 16, 1990, what appeared to be a fun-filled little family yarn about a kid left to his own devices at Christmastime and forced to fend off a couple of bungling burglars became an instant classic. Today, no holiday movie marathon is complete without a viewing of Home Alone, the movie that turned Macaulay Culkin into one of the biggest kid stars of all time. And while you may be able to recite its dialogue line for line, here are 25 things you might not know about the John Hughes-penned picture. So settle in and enjoy, ya filthy animals. 

1. WITHOUT UNCLE BUCK, THERE’D BE NO HOME ALONE.

The idea for Home Alone occurred to John Hughes during the making of Uncle Buck, which also starred Macaulay Culkin. Always game to play the precocious one, there’s a scene in which Culkin’s character interrogates a potential babysitter through a mail slot. In Home Alone, Culkin has a similar confrontation with Daniel Stern, this time via a doggie door.

2. THE ROLE OF KEVIN WAS WRITTEN SPECIFICALLY FOR MACAULAY CULKIN.

But that didn't stop director Chris Columbus from auditioning more than 100 other rascally pre-teens for the part. Which really was all for naught, as Culkin nailed the role.

3. MACAULAY WASN’T THE ONLY CULKIN TO APPEAR IN THE FILM.


20th Century Fox

Macaulay's younger brother Kieran also landed a part, as Kevin’s bed-wetting cousin, Fuller. Though the film marked Kieran’s acting debut, he has since gone on to build an impressive career for himself in movies like The Cider House Rules, Igby Goes Down, and Scott Pilgrim vs. the World.

4. CASTING CULKIN TAUGHT CHRIS COLUMBUS A VERY IMPORTANT LESSON.

Since Home Alone, Columbus (who also wrote the scripts for Gremlins and The Goonies) has gone on to become one of Hollywood’s premier family-friendly moviemakers as the director of Home Alone 2, Mrs. Doubtfire, and two movies in the Harry Potter franchise. But one lesson he learned from Home Alone is that when you agree to work with a kid actor, you’re also agreeing to work with his or her family.

“I was much younger and I was really too naive to think about the family environment as well,” Columbus told The Guardian in 2013. “We didn't know that much about the family at the beginning; as we were shooting, we learned a little more. The stories are hair-raising. I was casting a kid who truly had a troubled family life.” In 1995, Culkin’s parents, who were never married, engaged in a very public—and nasty—legal battle over his fortune. 

5. THE FILM IS A GUINNESS WORLD RECORD HOLDER.

In its opening weekend, Home Alone topped the box office, making $17,081,997 in 1202 theaters. The movie maintained its number one spot for a full 12 weeks and remained in the top 10 until June of the following year. It became the highest grossing film of 1990 and earned a Guinness World Record as the highest-grossing live-action comedy ever domestically.

6. THE MOVIE’S UNPRECEDENTED SUCCESS LED TO ITS TITLE BECOMING A VERB.


20th Century Fox

In his book The Big Picture: Who Killed Hollywood? And Other Essays, two-time Oscar-winning screenwriter William Goldman admitted that the unexpected success of Home Alone contributed a new phrase to the Hollywood lexicon: to be Home Aloned, meaning that other films suffered at the box office because of Home Alone’s long and successful run. “More than one executive said to me, ‘My picture did 40, but it would have done 50 if it hadn’t been Home Aloned,’” wrote Goldman.

7. IT SPAWNED MORE THAN A SEQUEL.

While all of the main, original cast members reprised their roles for Home Alone 2: Lost In New York (with Columbus again directing a script by Hughes), the success of the original led to a full-on franchise, complete with four sequels, three video games, two board games, a novelization, and other kid-friendly merchandise (including the Talkboy). 

8. POLAND LOVES THE MCCALLISTERS.

Showings of Home Alone have become a Christmas tradition in Poland, where the film has aired on national television since the early 1990s. And its popularity has only increased. In 2011 more than five million people tuned in to watch it, making it the most watched show to air during the season. 

9. THE MCCALLISTER HOME HAS BECOME A MAJOR TOURIST ATTRACTION.


A Syn via Flickr / CC BY-SA 2.0

Located at 671 Lincoln Avenue in Winnetka, Illinois, the kitchen, main staircase, and ground-floor landing seen in the film were all shot in this five-bedroom residence. (The dining room and all other first-floor rooms, with the exception of the kitchen, were shot on a soundstage.) In 2012, John and Cynthia Abendshien, who owned the home when it was used as one of the film’s locations, sold the property for $1.585 million.

10. KEVIN’S TREE HOUSE WAS NOT PART OF THE DEAL.

Kevin’s backyard tree house was not originally part of the property. It was constructed specifically for the movie and demolished once filming ended. 

11. ALL OF THE FILM WAS SHOT IN THE CHICAGO AREA.

Though the main plot point is that that McCallister family is in Paris while Kevin’s back home in Illinois, the production was shot entirely within the Chicago area. The scenes supposedly set at Paris-Orly Airport were shot at O’Hare International Airport. And those luxurious business class seats they’re taking to Paris? Those were built on the basketball court of a local high school—the same school where the scene in which Kevin is running through a flooded basement was filmed (the “basement” in question was actually the school’s swimming pool). 

12. ROBERT DE NIRO TURNED DOWN THE ROLE OF HARRY LIME.


Getty Images

As did Jon Lovitz. Then Joe Pesci swept in and made the part his own. Bonus fun fact: The character is a slight homage to Orson Welles. (It was the name of Welles’ character in Carol Reed’s The Third Man.) 

13. JOE PESCI GOT ALL METHOD ON MACAULAY CULKIN.

In order to get the most authentic performance possible, Joe Pesci did his best to avoid Macaulay Culkin on the set so that the young actor would indeed be afraid of him. And no one would blame the young actor for being a bit petrified, as he still bears the physical scar from one accidental altercation. “In the first Home Alone, they hung me up on a coat hook, and Pesci says, ‘I’m gonna bite all your fingers off, one at a time,’” Culkin recalled to Rule Forty Two. “And during one of the rehearsals, he bit me, and it broke the skin.” 

14. PESCI WASN’T USED TO THE WHOLE “FAMILY-FRIENDLY” THING.

Considering that Pesci’s best known for playing the heavy in movies like Raging Bull, Goodfellas, and Casino, it’s understandable that he wasn’t quite used to the whole family-friendly atmosphere on the set of Home Alone—and dropped a few f-bombs as a result of that. Columbus tried to curb Pesci’s four-letter-word tendency by suggesting he use the word “fridge” instead. 

15. DANIEL STERN HAD A FOUR-LETTER WORD SLIP-UP, TOO.


20th Century Fox

And it wasn’t cut out of the film. He utters the word “s***” when attempting to retrieve his shoe through the doggie door (look for it at the 55:27 mark on the DVD). 

16. IN REAL LIFE, HARRY AND MARV MAY NOT HAVE SURVIVED KEVIN’S ATTACK.

BB gun shots to the forehead and groin? A steaming hot iron and can of paint to the face? A flaming blowtorch to the scalp? The Wet Bandits endure an awful lot of violence at the hands of a single eight-year-old. So much so that neither one of them should have been walking—let alone conscious—by the end of the night. In 2012, Dr. Ryan St. Clair diagnosed the likely outcome of their injuries at The Week. While a read-through of the entire article is well worth your time, here are a few of the highlights: That iron should have caused a “blowout fracture,” leading to “serious disfigurement and debilitating double vision if not repaired properly.” And the blowtorch? According to Dr. St. Clair, “The skin and bone tissue on Harry's skull will be so damaged and rotted that his skull bone is essentially dying and will likely require a transplant.” 

17. THE ORNAMENTS THAT MARV STEPS ON WOULD CAUSE THE LEAST AMOUNT OF DAMAGE.

"Walking on ornaments seems pretty insignificant compared to everything else we've seen so far,” said Dr. St. Clair. “If I was Marv, I'd be more concerned about my facial fractures.” Fortunately, the "glass" ornaments in question were actually made of candy. (But just to be on the safe side, Stern wore rubber feet for his barefoot scenes.)

18. THE TARANTULA ON STERN’S FACE? YEP, THAT WAS REAL.


20th Century Fox

At one point, Kevin places a tarantula on Marv’s face. And it was indeed a real spider (Daniel Stern agreed to let it happen—but he’d only allow for one take). What wasn’t real? That blood-curdling scream. In order to not frighten the spider, Stern had to mime the scream and have the sound dubbed in later.

19. JOHN CANDY WRAPPED IN ONE DAY.

But what a long day it was: Twenty-three hours to be exact. Candy was a regular in many of John Hughes’ movies, and Gus Polinski—the polka-playing nice guy he plays in Home Alone—was inspired by his character in Planes, Trains & Automobiles. 

20. KEVIN’S OLDER SISTER IS A JUDO CHAMP.

Two years after appearing in Home Alone, Hillary Wolf—who played Kevin’s older sister Megan—landed the lead in Joan Micklin Silver’s Big Girls Don’t Cry… They Get Even. She also appeared in Home Alone 2, but hasn’t been seen on the big screen since. But there’s a good reason for her absence: In 1996 and 2000, she was a member of the Summer Olympic Judo team for the U.S.

21. DON’T BOTHER TRYING TO FIND ANGELS WITH FILTHY SOULS.

The Jimmy Cagney-like gangster movie that Kevin channels as his inspiration throughout Home Alone? Don’t bother searching for it on eBay. It’s not real. Nor is its sequel, Angels With Even Filthier Souls, which is featured in Home Alone 2. 

22. OLD MAN MARLEY WASN'T IN THE ORIGINAL SCREENPLAY.

Kevin’s allegedly scary neighbor, who eventually teaches him the importance of family, wasn’t a character in the original script. He was added at the suggestion of Columbus, who thought the film could do with a stronger dose of sentimentality.

23. THE LYRIC OPERA OF CHICAGO BENEFITED FROM THE MOVIE’S SNOWFALL.

When filming of Home Alone wrapped, the production donated some of the artificial snow they had created (the stuff made from wax and plastic) to the Lyric Opera of Chicago. It has since been used in a number of their productions.

24. MARV WAS SUPPOSED TO HAVE GOTTEN A SPINOFF.

Greg Beeman’s 1995 film Bushwhacked, which stars Daniel Stern as a delivery guy on the run after being framed for murder, was originally intended to be a spinoff of Home Alone. The storyline would have been essentially the same: After giving up a life of crime, Marv would have been framed for the same murder.

25. IF YOU BELIEVE THAT ELVIS IS STILL ALIVE, THEN YOU MIGHT BELIEVE THAT HE IS IN HOME ALONE.

No hit movie would be complete without a great little conspiracy theory. And in the case of Home Alone, it’s that Elvis Presley—who (allegedly?) died in 1977—makes a cameo in the film. Yes, that’s right. The King is alive and well. And making a living as a Hollywood extra.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios