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America Outraged by Zimmermann Telegram

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 268th installment in the series.  

March 1, 1917: America Outraged by Zimmermann Telegram

Following President Woodrow Wilson’s announcement on February 3, 1917 that the United States was breaking off diplomatic relations with Germany over the resumption of unrestricted U-boat warfare, the Allies were understandably elated. The expulsion of the German ambassador and his staff, and the recall of the American ambassador from Berlin, was the final step before a declaration of war; it was only a matter of time.

Or was it? As days passed, then weeks, it became apparent that Wilson had no intention of bringing the U.S. into the war right away. Even the sinking of a number of American steamers in February 1917, an “overt act” of German hostility, seemed unable to move him.

Wilson dragged his feet for a number of reasons. At a personal level, as Secretary of State Robert Lansing often complained in private, the cerebral, pacifically-inclined commander-in-chief was quite comfortable discussing sweeping principles and grand ideals, but found it much harder to take decisive action, especially when it involved putting Americans in harm’s way. 

Perhaps more importantly, in an age before regular opinion polls Wilson needed time to gauge the public mood, for example gleaning clues from newspaper reporting and opinion pages, as well as conversations with businessmen and other public figures, members of Congress and his own cabinet.

While it remains difficult to fully grasp the breakdown of American public opinion at the time, it’s clear that a large number of Americans still opposed entry into the war – as reflected in the success of Wilson’s reelection slogan, “He Kept Us Out of War,” which helped win him a second term just a few months before. 

But the balance was turning – albeit gradually and reluctantly – in favor of war, as every fresh submarine “outrage” on the high seas brought new American casualties, not least the young nation’s prickly sense of pride, especially sensitive where arrogant European powers were concerned. Meanwhile the country’s business elite couldn’t fail to be swayed by the fact that U.S. banks had loaned the Allies billions of dollars, funding huge purchases from American industries and delivering record profits, all of which would probably be wiped out by a German victory.

One Last Push

Still, given the slow pace of this evolution the British were understandably worried that the United States might drift on, rudderless, for several more months or even a year – a disastrous scenario, as the Allies were approaching financial collapse and needed major new loans, backed by the U.S. government, without delay. For this to happen, America had to officially declare war. 

Fortunately for the Allies, British intelligence held a trump card in the form of the Zimmermann Telegram, containing Germany’s sensational proposal of an alliance with Mexico and Japan against the United States, which the Admiralty’s cryptography team in “Room 40” had intercepted and decoded earlier that month – including its brazen offer of the U.S. southwest to Mexico as spoils of war. 

After carefully establishing a cover story to conceal how they had decoded the message from the Germans, on February 22, 1917, the head of Room 40, Admiral William Hall, presented the telegram to the American intelligence liaison, Edward Bell. Knowing the Allies were desperate to get the U.S. into the war, Bell was understandably skeptical at first, and inclined to dismiss the incredible text as a hoax, but was soon persuaded by additional evidence.

The American ambassador, Walter Hines Page, who had long supported U.S. intervention on the side of the Allies, recognized the importance of the Zimmermann Telegram at once. To help Page persuade Washington of its authenticity, Hall took the extraordinary step of offering to share Room 40’s own top-secret copy of the German code with the American Embassy, so they could decode the telegram and verify its contents themselves.

After Foreign Secretary Arthur Balfour officially presented the text to Page on behalf of the British government on February 23, Bell decoded the telegram in the presence of Nigel de Grey, one of three Room 40 cryptographers who had first decoded it. With their own decoding and translation now in hand, Page immediately sent a telegram to Washington in the early morning of February 24, alerting the State Department to expect a very important message for the President in the near future. 

Late in the evening of February 24 State Department officials went to the White House in person to present the telegram to Wilson. Furious, the president considered publicizing the telegram right away – but instead decided to keep the secret for several more days, before releasing it to the press as part of a political gambit.

Sinking of the Laconia

The day after he learned about the Zimmermann Telegram, Wilson proposed a new bill to Congress authorizing the arming of American merchant ships to defend themselves against German submarines – by far his boldest move yet, but far short of a declaration of war. However even this moderate measure met with opposition from a hard core of pacifist Republicans in the Senate, led by Wisconsin Senator Robert La Follette, who warned the arming merchant ships would throw American neutrality in doubt. 

As the La Follette anti-war faction filibustered the Armed Ship Bill on February 26, word came over the wires that a German submarine had sunk the British ocean liner Laconia the day before, with the death of two Americans. Floyd Gibbons, an American newspaper correspondent who was a passenger on the Laconia when it was sunk, would later describe his experience of the event:

Responding to the list of the ship, the wardrobe door swung open and crashed against the wall. My typewriter slid off the dressing table and a shower of toilet articles pitched from their places on the washstand. I grabbed the ship’s life-preserver in my left hand and, with the flashlight in my right hand, started up the hatchway to the upper deck… Suddenly there was a roaring swish as a rocket soared upward from the Captain’s bridge, leaving a comet’s tail of fire. I watched it as it described a graceful arc and then with an audible pop it burst in a flare of brilliant colour. Its ascent had torn a lurid rent in the black sky and had cast a red glare over the roaring sea. Already boat No. 10 was loading up and men and boys were busy with the ropes… Other passengers and members of the crew and officers of the ship were rushing to and fro along the deck strapping their life-preservers to them as they rushed. There was some shouting of orders but little or no confusion. One woman, a blonde French actress, became hysterical on the deck, but two men lifter her bodily off her feet and placed her in the life-boat.

Along with other survivors in the crowded lifeboat, Gibbons witnessed the Laconia’s coup-de-grace:

It must have been twenty minutes after that first shot that we heard another dull thud, which was accompanied by a noticeable drop in the hulk. The German submarine had despatched a second torpedo through the engine room and the boat’s vitals from a distance of two hundred yards. We watched silently during the next minute as the tiers of lights dimmed slowly from white to yellow, then to red and then nothing was left but the murky mourning of the night which hung over all like a pall… The ship sank rapidly at the stern until at last its nose rose out of the water, and stood straight up in the air. Then it slid silently down and out of sight like a piece of scenery in a panorama spectacle. 

Happily for Gibbons and his fellow passengers, the Laconia’s captain had broadcast a distress signal by wireless, British anti-submarine patrols were frequent, and civilian ships were on hand to rescue survivors; they were rescued after six hours in the open lifeboat on the rough sea. 

Overshooting the Mark 

Although the Laconia’s death toll of 12 was light compared to previous U-boat attacks, a testament to several years of training and passenger safety drills, the timing of the news – including American civilian casualties – sharpened the divisions in the Senate and intensified Wilson’s own commitment to arming merchant vessels, prompting him to make a fateful decision.

Vexed by La Follette’s successful filibuster of the Armed Ship Bill on February 26-27, and with his own anger over the Zimmermann Telegram growing, Wilson decided to bring public opinion to bear on the Senate pacifists by publicizing the Zimmermann Telegram. But he may not have anticipated the full impact that the Zimmermann Telegram would have on American public opinion. The wave of indignation unleashed by the publication of the Zimmermann Telegram on February 28 changed everything, as Wilson suddenly found himself under intense public pressure to take decisive action beyond merely arming merchant ships. The response of leading newspapers gives some idea of the level of fury across the country.

The Associated Press, which got the scoop, condemned the Zimmermann Telegram as part of “Germany’s worldwide plan for stirring strife on every continent where they might aid her in the struggle for world domination,” adding, “Such a proposal as Germany instructed her Minister to make to Mexico borders on an act of war if actually it is not one.” The next day the Chicago Tribune noted: “President Wilson’s accusation of Germany, given to the world through the medium of the Associated Press, fell like a thunderbolt upon official Washington,” adding: “Unless the Berlin government promptly establishes its innocence of the charge of plotting to incite Japan and Mexico to war upon the United States the American people may soon find themselves at war with Germany.”

In fact Germany did just the opposite. Indeed, the uproar only increased with German foreign secretary Arthur Zimmermann’s inexplicable admission, on March 4, that he was behind the telegram. This triggered a fresh round of outrage in American newspapers, with the Sacramento Bee memorably condemning Germany’s “treacherous enmity, underhanded, nasty intriguing.” 

In a little over a month the U.S. would enter the bloodiest conflict in world history. 

See the previous installment or all entries.

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11 Single Facts About Bridget Jones’s Diary
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While it's not officially a holiday movie, so much of the action in Bridget Jones's Diary happens around the most wonderful time of the year that the rom-com has become essential wintertime viewing for many movie fans. Based on Helen Fielding’s novel of the same name, it tells the story of a very single, and hopelessly romantic, working professional named Bridget (Renée Zellweger) who is determined to improve her love life. Enter two strapping gentlemen (Colin Firth and Hugh Grant) to vie for her heart. Get to know more about the timeless dramedy that’s been delighting audiences since 2001. Just as it is.

1. THE SOURCE NOVEL CAME ABOUT FROM AN ANONYMOUS COLUMN ABOUT SINGLE LIFE.

In the foreword of Bridget Jones’s Diary, author Helen Fielding wrote about how she came to conjure up the story: “The Independent asked me to write a column, as myself, about single life in London. Much as I needed the money, the idea of writing about myself in that way seemed hopelessly embarrassing and revealing. I offered to write an anonymous column instead, using an exaggerated, comic, fictional character. I assumed no one would read it, and it would be dropped after six weeks for being too silly.”

2. SEVERAL CHARACTERS ARE BASED ON PEOPLE IN HELEN FIELDING’S LIFE.


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These include Jude (Tracey MacLeod) and Shazzer (Sharon Maguire, also the film’s director). In a column for the Evening Standard, MacLeod described how she didn’t even realize she inspired part of her best friend’s story until Fielding’s book launch party. “At the launch party for the first Bridget book, I was cornered by a smug married friend, ‘So ... what's it like being Jude?’ she asked,” MacLeod writes. “I was outraged. Of course I wasn't Jude, with her self-help books and horrible boyfriend. My boyfriend wasn't anything like Vile Richard ... But as more people began to believe that Jude and Shazzer were thinly-veiled portraits of myself and Sharon, I secretly got to like the idea.”

3. TONI COLLETTE DECLINED THE LEAD, AND KATE WINSLET WAS CONSIDERED FOR IT.

Before Zellweger stole the show, Aussie Toni Collette and Brit Kate Winslet were up for the part. According to AMC, “Toni Collette declined the role because she was on Broadway starring in The Wild Party at the time, and Kate Winslet was considered but the producers decided she was too young.”

4. HUGH GRANT ONLY SIGNED ON WHEN RICHARD CURTIS WAS ANNOUNCED AS THE WRITER. 


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“The only reason [I was a hard sell] was because I didn't feel they had the script quite right for a long time,” Firth told Cinema.com. “And I kept saying, ‘It's not working. Just get Richard Curtis to come in and help rewrite it.’ Eventually they did, and as soon as Richard came on board, I signed on the dotted line. So that's all it was.”

5. RENÉE ZELLWEGER GAINED 17 POUNDS FOR THE PART.

Zellweger’s weight gain for the role had the media abuzz for a while. According to The Guardian, “In order to play the eponymous heroine in the film adaptation of Fielding's bestseller, the actress gained 17 pounds, consulting a dietitian and endocrinologist who devised a regime of three full meals a day, multiple snacks, and no exercise.”

6. ZELLWEGER WORKED AT PICADOR FOR THREE WEEKS.

Zellweger went full Method for her iconic role, and became a temporary employee of the Picador publishing house. “We came up with a plan: she would be Bridget Cavendish, Bridget for obvious reasons and Cavendish as she was to be passed off as the sister of Jonathan Cavendish, a friend of one of our company chairmen,” Picador publicist Camilla Elworthy told The Guardian. “That last bit at least is true, and no one was to know that Jonathan Cavendish was one of the film's producers.”

7. ZELLWEGER KEPT A PHOTO OF JIM CARREY ON HER DESK.


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While working at Picador, Zellweger kept a picture of Jim Carrey on her desk—which made her alter ego Bridget Cavendish seem like some sort of obsessed fan. “Under the name Bridget Cavendish, she answered phones, served coffee, and made photocopies—without being recognized by any of her co-workers, who offered career advice and wondered privately why she kept a photo of Jim Carrey (her then-boyfriend) on her desk,” noted Hollywood.com.

8. ZELLWEGER INVITED HER BOSS AT PICADOR TO BE AN EXTRA ON SET.

In Camilla Elworthy’s write-up for The Guardian, she noted how she became a part of the production. “Renée sent me a thank you letter and gift after she'd gone and I have seen her a few times since then," Elworthy wrote. "She invited me on to the film set one day. She informed me that I had to stick around and be an extra and made sure that I was put somewhere that I would be seen ... As a result, half my head can be seen for half a nano-second in the launch party scene.”

9. THE EPIC FIGHT SCENE BETWEEN GRANT AND COLIN FIRTH WASN’T CHOREOGRAPHED.

You can thank the two actors for the hilarity of the iconic scene. In a Vulture article about the greatest fight scenes in movie history, writer Denise Martin recalled the improvised spar, writing, “No stunt coordinators. No elaborate choreography. Just a perfectly realized wimp brawl between two upper-middle-class Englishmen coming to awkward fisticuffs in front of a Greek restaurant.”

10. FIELDING ASKED FRIEND SALMAN RUSHDIE TO CAMEO IN THE FILM.

Recalling how he came to be part of the film, famed novelist Salman Rushdie told Texas Monthly, “Helen Fielding, the author of the book, is an old pal of mine, and she asked if I’d come along and make a fool of myself, and I said, ‘Why not?’”

11. GRANT DIDN’T HEAR ZELLWEGER SPEAK IN HER AMERICAN ACCENT UNTIL THE FILM’S WRAP PARTY.

Zellweger was so engrossed with Bridget Jones that one of her leading love interests didn’t meet the real actress until the end of the shoot. “Not once did she stop speaking with that accent, until the wrap party,” Grant told Cinema.com, “when suddenly this weird ... Texan appeared. I wanted to call security, I didn't know who the f*ck she was!”

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15 Surprising Facts About Scarface
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Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


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Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


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De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
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In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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