Dutch Girl Audrey Hepburn

Reunion

I was reminded how much I miss Audrey Hepburn the other day when The Nun’s Story played in the U.S. on TCM. As you probably know if you’re a Hepburn fan, she never considered herself an actress and always classified herself a dancer. If she’d had her druthers, she’d have been a Balanchine girl, or at the very least a choreographer, but fate had other plans and thrust her into the limelight as an actress who occasionally enjoyed opportunities to dance in her films.

The book was a big deal at around the time of the film’s release.

I lived with Audrey Hepburn for five years writing first Dutch Girl and then Warrior, and that’s why I say I miss her. Any author will tell you that strong relationships are formed during the creation of a biography and you’re living with your subject, hearing her voice, walking in her footsteps, making sense of her decisions—and sometimes yelling at her, “You fool! Don’t do that!”

Audrey was one tough woman, hardened by all the trials of life smack-dab in the middle of a world war. She lived by instinct, and I can argue instinct was her superpower because she used her instincts to make a living as an actress and mold her own personality into whatever character she portrayed, even without formal stage training as an actress.

And there it all was in The Nun’s Story, where the non-Catholic Audrey portrayed long-suffering Sister Luke, a woman of passion and talent trying to live a life of humble obedience serving others in Europe and Africa. It’s a beautiful performance, always understated, with never a false step that I could see, and it earned her an Academy Award nomination and a Best Actress award from the British Academy of Film and Television Arts.

If you’ve read Dutch Girl: Audrey Hepburn and World War II, you know what Audrey endured in the war. The parallels in the plot of The Nun’s Story always startle me—in the last reel of the picture, World War II breaks out in Europe and Sister Luke is stationed in the Netherlands when the Germans march in. We hear that the Nazis have swept through Holland and forced a capitulation, and then that Sister Luke’s father has died in the fighting. When another nun starts to work for the Dutch Resistance, Sister Luke tries to look the other way but still sanctions the actions of her colleague. Finally, Sister Luke leaves the order so she can do her own fighting on the outside, and the last shot we see is this young woman walking out into the streets of the Netherlands toward an uncertain future.

Peter Finch plays a doctor in the Belgian Congo for whom Sister Luke develops feelings, especially after he helps her past a near-fatal bout of tuberculosis.

Imagine what she was thinking as she made this picture. Imagine her motivations for these scenes, as when German soldiers swarm onto the set. She had seen that uniform every day for years. Her uncle and cousin and many friends had been executed by men in that uniform. German soldiers had caused so much pain and hardship that the sight of those costumed extras, and the plot of invasion and death, could only have produced visceral reactions.

In preparation for making the picture, Audrey met with the author of the book The Nun’s Story, Kathryn Hulme, and through Hulme formed a friendship with Marie-Louise Habets, whose story was fictionalized by Hulme. Like Hepburn, Habets was born in Belgium and lived through the war in Europe. After leaving the convent, Habets did indeed join the Dutch Resistance, as did Audrey Hepburn. Until publication of Dutch Girl, the world didn’t fully grasp Audrey’s role in the war—after all, she was only 15 so what could she have done? Well, she did a lot, as it turned out, displaying toughness and discipline that would serve her through a variety of situations over a lifetime, including her work in The Nun’s Story. This was my third viewing of The Nun’s Story and I appreciate it now more than ever for reminding me of my very dear friend Audrey. We had some times together, you and I. They are with me always and I’ll cherish them, and you, forever.

Audrey was self-conscious about the bags under her eyes, but they served her well here as a nun under relentless pressure as both her health and faith begin to fail.

Blindsided

Watching Roman Holiday this past Friday evening, I was blindsided. I hadn’t seen this picture since the release of Dutch Girl, and for me the experience was much like rounding a corner on a city street and running into a long-lost friend. Here was young Audrey just seven years removed from the wartime Audrey I had sat with for three years, in whose footsteps I had walked in the Netherlands. That was the first and strangest experience the other evening—seeing this Audrey put me in a time warp and in my mind flashed scenes of the war from Dutch Girl and then memories from the ceremony in Velp in September 2019 when Audrey’s son Luca Dotti and I attended the unveiling of a historical marker and statue of Audrey at the site of her wartime home. I came out of the viewing of Roman Holiday thinking to myself, I’ve had an interesting life intersecting with interesting lives.

Audiences had every right to expect a happy ending from this poster art for the romantic comedy, *Roman Holiday*.

Other things really hit me during what must have been my fourth or fifth viewing of this classic picture.

I thought about Audrey during a long, demanding location shoot in Rome, her first interaction with a city that seems on celluloid to be friendly and welcoming. She wanders the streets alone, a princess nobody recognizes, and people are nice to her and she is nice to people. A couple of ironies hit me—of all the places in the world, she would end up living here in Rome with her second husband. And maybe because of the profound experience of making this first Hollywood film here, she naturally assumed she was already a member of the club, citizens of Rome. But real life, real Rome, would be cruel to Audrey. The marriage became an unhappy one, and as documented in my book Warrior: Audrey Hepburn, Romans never warmed to a movie star turned wife and mother.

Audrey’s inner circle as well as Luca revealed that she was treated badly by the locals. Her friend, writer Anna Cataldi of Milan, told me, “People in Rome, they were not nice to Audrey. They were absolutely not nice. She needed desperately to have friends and warmth. People were awful to her.” Luca said, “I believe that, for certain Roman social circles, the fact that she was too much a housewife, too ‘square,’ took its toll more than her celebrity.” He described the city as a sea of clannish neighborhoods with no appetite for outsiders.

I’ve never asked Luca, who lives in Rome, if he talked with his mother about various spots in the city where Roman Holiday was shot. If it were my mom, I might just be a little haunted by the Spanish Steps where Anya sat eating gelato, or the other familiar locations where ingenuous Audrey Hepburn made her first important picture. Luca sometimes checks in on this blog so maybe he’ll provide the answer.

Audrey and leading man Gregory Peck on the Spanish Steps.

A couple of other aspects of Roman Holiday struck me this time. One was the “guy code” on full display. When a princess on the lam falls into their lap, press men Joe and Irving are out to get a hot story, complete with pictures. But when Joe falls in love with said princess, his principles intervene and he can’t cash in, which would betray her. Fair enough. But the guy code comes into play when Joe leaves it up to Irving whether he sells the Pulitzer-level photos he had taken of Ann’s Roman adventures. And for Irving there’s no decision. He does the honorable thing and foregoes the money and fame that would surely result and instead, gives the photos to the princess. Irving isn’t in love with her, his friend is, but that’s good enough for Irving. Boom—guy code. I honestly don’t know how many Irvings remain in the world today, this narcissistic gladiatorial arena of TikTok and Instagram where the number of clicks and the number of followers have become the raison d’être of…everyone? Surely not, but it seems that way sometimes.

The story itself impressed me on this viewing for the fact that boy meets girl, boy loses girl, and girl eschews a happy life with boy because of a commitment to duty and country. It’s such a bittersweet twist and not what one would expect walking into the theater in 1953 to watch a romantic comedy. The ending is downright somber as Gregory Peck walks away with hands in pockets, alone and heartbroken. They have both done the noble thing, which may have been expected in 1953 but not so much today (see previous paragraph). This conclusion packs a punch because of its real-life aspect; so often, great love stories don’t result in the predictable happy ending, with 50 years of marital bliss. It doesn’t make such romances less real, valid, or momentous.

Standing next to Joe (Gregory Peck), Irving (Eddie Albert) is about to abide by the Guy Code and hand an envelope of “commemorative photos” to Princess Ann.

One final irony that hit me this time: Ann’s coming of age, represented by her voluntary return to royal duty after a 24-hour escape and holiday, sees her take control of her personal space from “the Countess,” her stone-faced lady in waiting. At this time in her life, Audrey was beginning a lifetime project of taking control of her personal space from “the baroness,” Audrey’s mother, Ella, Baroness van Heemstra. So very many ironies in this aspect of the story. Ella’s younger sister Marianne, Baroness van Heemstra (Audrey’s aunt), served as lady in waiting to Princess Juliana of the Netherlands before and during the war. Indeed, Audrey had grown up amidst a noble Dutch family set apart from the common people, which gave a young actress character insights to offset a decided lack of acting experience. In that regard, 23-year-old Audrey Hepburn served as a technical advisor on the production of her own first major motion picture.

When in the final sequence Princess Ann demands that the Countess retire from the royal chamber, it made me smile—in her lifetime Audrey would never experience such a symbolic moment with her own oppressor. Yes, the tables would turn late in Ella’s life when she became ill and dependent on her daughter’s good graces, but Audrey would remain oppressed and bitter until her own passing. Never did she dare to say, “You may retire, Baroness.”

I have no problem admitting I cried my eyes out at the ending this time, probably more than at any past viewing, because of all the intersections, emotions, realizations, and memories. I didn’t see any of it coming; I just sat down to watch a romantic comedy on a typical Friday evening.

The bittersweet ending *Roman Holiday*: Joe Bradley walks away alone.

“Good Luck, Dear Rose”

I have a Dutch family. None of my ancestors are Dutch, but I inherited a whole family in the Netherlands by researching and writing Dutch Girl, an effort that began in 2015 with our first visit to Arnhem. It was there I discovered Audrey Hepburn’s connection to that spot on the map, which intrigued me all the more when I tried to research her wartime years in Arnhem and found little available information, with much of that conflicting. What I did learn pretty quickly was that Audrey lived in Arnhem from December 1939 to sometime in the middle of the war, and then moved to the next village to the east, Velp.

That first lunch in June 2017 with Ben van Griethuysen, Annemarth Visser ‘t Hooft, Rosemarie Kamphuisen, and me. After Ben’s mother was killed in an Allied fighter attack late in 1944, it was hospital volunteer Audrey Hepburn who comforted him.

In the spring of 2017, I contacted Velp’s leading historian, Gety Hengeveld, to request her help with information; at once she marshaled forces there and served as a point of contact for my upcoming research visit. Gety put together a luncheon so I could interview several wartime survivors at once, and there, in June 2017, I met my Dutch family, which included several names you’ll recognize if you have read Dutch Girl. I sat next to Rosemarie Kamphuisen that day, and we didn’t exactly hit it off because I believe trust didn’t come easily to her, and who was this American author and what were his intentions? Through lunch she held in her lap a published history of her family, including the war years, and she would refer to it to refresh her memory and conjure up dates related to the German occupation.

In the end she allowed me to photograph the relevant pages of her family history when lunch had concluded. Why? I guess she had judged me to be OK and beyond that, “You are our liberators!” she said to me with what I can only describe as awe and wonder in her voice. Just by being an American, I had qualified in her mind as one of the liberators, and I was honored and a little embarrassed to be lumped into the same group as the Allied troops that had attempted to liberate Velp in 1944 and succeeded a year later.

Mary and I saw Rosemarie on our next research trip in April 2018 during Velp’s solemn Liberation Day ceremony that takes place the Sunday closest to 16 April, the date everyone in the village, including Audrey Hepburn and her family, were freed from German occupation. Rosemarie greeted us like family and we sat and talked after the ceremony for a long time. We agreed to meet for dinner at a local restaurant a few days later and when Mary and I arrived at the restaurant, there was Rosemarie waiting for us, standing beside a bicycle that seemed much too big for her—she must have been at that time somewhere around 88 years old, and she had biked to our meeting! I will never quite get over that, but bicycles are the Dutch way of life and key to their sense of independence and health.

That day we learned all about Rosemarie and her family. She’d had a hard life including a bad marriage that forced her to start over from scratch while supporting five children. She had also become a force in the local community, a volunteer for senior citizens’ groups and historical preservationist.

Just for some perspective, Rosemarie was a bit younger than Audrey but also Audrey’s contemporary in Velp. She remembered the van Heemstras and was very fond of Dr. Henrik Visser ’t Hooft, the Velpsche doctor for whom Audrey volunteered and local Resistance leader.

Of this fascinating man she said, “I have known hard times in my life, and he supported me without many words, but by respecting me and giving a boost to my self-confidence. In one way or another he gave me the feeling that he loved me in the most decent way possible. At his farewell reception [in the 1970s] he hugged me with the words: “Good luck, dear Rose.” It was just what I needed.”

Rosemarie participated in the committee that placed a historical marker and statue at the site of Villa Beukenhof in Velp and staged their unveiling in September 2019. The committee invited Audrey’s son Luca Dotti and me to speak at the ceremony, which was simply spectacular, attended by about a thousand people, brass band, parade, and a lavish book signing of the Dutch version of Dutch Girl. Those events marked the last times we saw Rosemarie. Our planned 2020 return visit was canceled by Covid and we couldn’t provide in-person moral support when she suffered a debilitating heart attack about a year ago. The best we could do was speak to her on the phone and keep touch via email.

Rosemarie Kamphuisen passed away yesterday in hospice, but not without one last battle. She kept warning us that her heart was giving out, but we kept believing that nothing could really stop her. She came from good stock that had helped defeat the Nazis, and she’d beaten the odds and successfully raised her children and gone on to help me write Dutch Girl. I’m so happy to report she also provided important reminiscences that appear in my latest book, Warrior: Audrey Hepburn, due September 28.

One of the hazards of writing books about World War II is that an author meets and works with wonderful, important people in the autumn of their lives and they become family and then they move on. It happens over and over and it hurts. But above the sense of loss is such gratitude that we met to establish new and loving relationships in the course of capturing stories important to history. These people live on in my books, and in my heart, forever.

With many in my Dutch family in September 2019. From left, Patrick Jansen, whose father wrote the most important diary of the war from the perspective of Velp, Mary Matzen, Gety Hengeveld, Annemarth Visser ‘t Hooft, me, Johan Vermeulen, whose home was destroyed by the Germans in the battle of Arnhem, Rosemarie Kamphuisen, Josje Mantel, and Dick Mantel, whose job as a teenager was to make the lives of the occupying Nazis as miserable as possible. Dick lived across the street from the van Heemstras on Rozendaalselaan and Baron van Heemstra and Audrey would sneak over to listen to Radio Oranje on the Mantel’s secret radio set.

In the Time of the Germ

A number of new subscribers have come aboard, which I very much appreciate. Thank you all! This fact reminds me how derelict I’ve been in posting new content of late. So, here’s where I’ve been and what I’ve been up to instead of writing columns for this blog.

The Rathbones in 1938. Great actor and fine gentleman, but I had to pass.

FLASH BACK to autumn 2019, before Covid—if you can remember life before Covid. Dutch Girl had been a success in the U.S. and abroad, and I started to think about what I’d write next since it’s always a struggle finding something book-worthy. After Mission and before Dutch Girl I almost took on the task of attempting a biography of actor Basil Rathbone, but his relationship with narcissist wife Ouida was too f’ed up and although Rathbone wove his way into the fabric of Hollywood history, I refused to be locked in a room with an overt narcissist and her co-dependent husband through the course of 90,000 words. Because her toxicity poisoned too much of his career, I felt I had to throw that one back into the cosmic stream, which was OK because then Audrey came along.

After Dutch Girl I was poking around again and received a hot tip out of the blue about unexplored content in a university archive related to Dorothy Parker. You know, Algonquin Roundtable short story writer and renowned wit Dorothy Parker who ended up in Hollywood with her husband writing and fixing screenplays in the Golden Age. Well, she and I had a booze-soaked little fling and I read a lot of her stuff and it was an interesting life with lots of Hollywood ties and I thought, yeah, maybe Dorothy Parker. But then at 3 a.m. one morning—I wake up at 3 a.m. sometimes and start to process things and can’t stop—my eyes snapped open at the realization that if I thought Basil and Ouida Rathbone were unappealing as a subject, they’re child’s play compared to a mean drunk who drove not one but both husbands to kill themselves. I decided right then to not become a filler item for the newspaper, as in, “DID YOU KNOW that Dorothy Parker drove not only two husbands but also her biographer to commit suicide?” Dottie and I broke up the next morning.

Dorothy Parker and second husband Alan Campbell in Hollywood in 1936. After due consideration, I refused to become a statistic.

I was back at square one when a friend heard me talking about my problem of not knowing what to do next and joked, “Why don’t you do a book on Audrey Hepburn?” I laughed along because I had addressed the only area of Audrey’s life that hadn’t already been squeezed dry like an orange at the Sunkist factory. Some days later I said on the phone in a ha-ha way to Luca, Audrey’s son, “Hey, wanna hear a good one? Somebody said I do another book about Audrey—isn’t that crazy?” And there was a pause, and Luca said, in effect, I was thinking the same thing!

It’s now more than a year later and here I sit with a completed manuscript in my lap titled, Warrior: Audrey Hepburn and the Fight for Children. It’s the other shoe to drop, the mate to Dutch Girl that completes the story and answers the question, “What did Audrey Hepburn do with the horrific wartime memories she kept locked inside?” If you think you know the answer to that question, I’ll bet you really don’t. I discovered in talking to her closest surviving friends and the many UNICEF field workers who accompanied her on Third World missions that the history of what she did and how she did it was about to be lost. And what this is as she charged into war zones and took on world leaders. I had no idea until Luca pointed me in the right direction just what a treasure chest waited to be opened. As it happened, with the world in lockdown for most of the time I spent researching and writing, no matter whom I called or where in the world they were located, guess what? They wanted to talk!

Granted only a few people have seen the resulting manuscript and maybe it sucks. Some of my favorite creative projects have inspired reactions like, “What were you thinking?” But the experience for me has been pure magic. I mean, really, I just spent another year locked in a room with Audrey Hepburn. That, my friends, is not a bad way to endure a pandemic. It certainly beats being sentenced to prison with Dorothy Parker or Basil and Ouida Rathbone.

Depending on a number of factors led by Covid and my publisher’s reaction, you may be seeing Warrior in about a year. Between now and then, I hope to turn my attention to this blog on a regular basis.

Audrey greets Pakistani peacekeepers, warrior to warrior, at Mogadishu Airport, Somalia in September 1992. She sensed this mission would kill her, but undertook it anyway.

a + b = c, anyone?

Dutch Girl: Audrey Hepburn and World War II by Robert Matzen

Once in a while people ask me for recommendations for good WWII pictures. Obviously, Casablanca stands as the masterpiece of war-era romance and intrigue, but another Warner picture released exactly a year after Casablanca made an all-new impression on me when I watched it just last night.

I’d seen it before, but this time I cried at Edge of Darkness. I mean really cried in several scenes—which is funny because it had never affected me like that. In a nutshell, it’s autumn 1942 and Errol Flynn is the local resistance leader in a Nazi-occupied Norwegian fishing village of 800 as the Germans in charge ratchet up the pressure. They take food from the village and ship it off to Germany. They impose punitive sanctions against the citizenry, and the situation escalates to the point that all the resistance leaders in town are condemned and ordered to dig their own graves before they’re shot by firing squad.

For most of my life the story in Edge of Darkness seemed like just your usual wartime plot; a backdrop for Errol Flynn and crew to perform some onscreen heroics. Then I wrote Dutch Girl: Audrey Hepburn and World War II (now in paperback–get your copy today!) which involved many trips to the Netherlands to learn about a town under Nazi occupation. I was able to see the building that served as SS headquarters—the place where locals were tortured to reveal information. I walked streets once German-held. I met many people who lived under German rule, including the children of Dutch resistance leaders. These are the people depicted in Edge of Darkness, and boy, do they now ring true. The resistance leader who resents German presence. His girlfriend who is raped by a German soldier. Her father the doctor who doesn’t favor fighting the Germans and her mother the dim and detached hausfrau. Many realistic characters are portrayed and they have one connecting purpose: They are ready to fight the Germans and they know that to do so, “We must be like steel.”

Dutch Girl: Audrey Hepburn and World War II by Robert Matzen

After the rape of Gunnar’s girlfriend Karen by a German soldier, Norwegian resistance leaders must decide when and how to strike. Soon the decision will be taken out of their hands.

I cried because I now know people like this. I cried because I know their story, what they suffered with spirits unbroken, and how they fought the oppressor day by day, week by week as the war dragged on and their lives became ever more unbearable.

Edge of Darkness begins at the end of the story—a German patrol plane spies a Norwegian flag flying above a town inhabited only by masses of dead soldiers and civilians in what a German investigator arriving on scene assumes was a battle of annihilation for both sides. Then we flash back to witness the series of events that led to massacre. The picture unspools like a macabre whodunit, tension increasing with very little in the way of comic relief. The resistance movement solidifies under German oppression just as it did in the Dutch village of Velp that I investigated for Dutch Girl. The restrictions imposed on the Norwegian village of Trollnes were exactly the same as those imposed on the Dutch village of Velp. The reaction of locals—death over cooperation with the Nazis—mirrors what happened in Velp; in fact, Audrey was among those who participated in Dutch resistance activities, just as did pretty much everyone in the village portrayed in Edge of Darkness. And when the resistance leaders of Trollnes are seen digging their own graves, well, chills ran down my spine because of a key episode described in Dutch Girl involving a member of Audrey’s own family.

Villagers advance toward the final, probably fatal confrontation with occupying German troops.

There’s a subplot involving a Norwegian woman who falls in love with a German soldier, but given the film’s release date of 1943, she of course fights the urge because he’s an occupier. The only good German in 1943 was a dead German, and there are scores of them before long in Edge of Darkness.

I’ll leave it to others to talk about the crazy-strong cast and their performances. As directed by Hollywood veteran Lewis Milestone, Ukrainian-born and fluent in German, the climactic battle sequence pulls no punches for 1943. The Norwegians attack German machine gun nests with suicidal fury to match the ruthlessness of the oppressors. The body count is shockingly high on both sides and I can only wonder how those trying to escape wartime reality by going to an Errol Flynn picture—you know, the guy from Robin Hood—reacted at a story even grimmer than the day’s headlines.

I’d love to hear from people who a) read Dutch Girl and as a result b) cried at the courage and sacrifice in Edge of Darkness. If a + b were to equal c for any of you, that would make my day.

Schooled by a Sixth Grader

Dutch Girl trade paperback edition, due out May 12, 2020.

Writing the kinds of books I write depends on research—talking to eyewitnesses, digging through archives, combing through newspapers, walking the earth where action happened. I’ve explored castle dungeons, dodged swooping bats inside a German bunker, and flown in warbirds from one to four engines. All the research has to be laid out as if on a big table and then corroborated so nothing is left to chance. OK, so-and-so said this happened then, and, oh, OK, this newspaper verifies, yeah, that happened then. To me the worst outcome is to put bad information out there that creates a false foundation for future historians.

Research is a science that I respect. And I’m a Virgo, which makes me a perfectionist and hard on everybody, especially myself. So when I learn I’ve made an error in my research, it stings, and I made a whopper in Dutch Girl that was spotted and corrected very soon after pub date in April 2019. I indicated in the first printing of the book that Anne Frank and her sister Margot died in Auschwitz after the family’s capture in their Amsterdam hiding place. Some family members did die in Auschwitz, but the sisters did not. In fact, they were at first sent to Auschwitz but then went on to another concentration camp, Bergen-Belsen, where they died shortly before the end of World War II. The author wrote they died in Auschwitz, it slipped past the fact checkers, the ink dried, and out it went.

Early on a Dutch Girl reader contacted GoodKnight Books, and I learned of the mistake. Of course I was red-faced with embarrassment. I had done quite a lot of research on Anne and her diary and so I knew better—the correct information was floating around in my brain. But it’s the supposedly simple “facts” that don’t get laid out on the table, scrutinized, and verified.

The correction was made for subsequent editions of the book, and flash forward to this past week, when I was informed through the publisher that a letter had come in from sixth grader Abigail Jacob of Smyrna, Georgia. Abigail wanted to inform the publisher about an error in Dutch Girl, which she corroborated by double-checking The Diary of Anne Frank, which she obviously had also read. I hadn’t spread out my facts about the demise of Anne and Margot Frank on that research table, because I was in too big a hurry and assumed I knew what I was doing. But in Smyrna, Abigail was looking at Dutch Girl on her own research table, and completed the research step I had missed.

What if Abigail didn’t have an eagle-eye? What if she had written a book report on Dutch Girl, say on the connections between Anne Frank and Audrey Hepburn, and repeated my error in her report, only to have her teacher catch it? It’s bad, bad medicine to let mistakes get out there in the cosmos, only to have them caught by the next generation of readers and researchers, or worse, repeated.

I’m proud of Abigail Jacob for so many reasons. For reading Anne Frank’s diary. For reading Dutch Girl. For caring enough about both books, and about history as a science, that she felt compelled to track down the publisher’s address and send a letter.

Lesson learned, Abigail. Every single fact needs to be checked, even when—especially when—you think, yeah, yeah, I got this.

Abigail-letter

… Forever

I caught part of the Macy’s Thanksgiving Day Parade here in the U.S. on television this morning. Featured were the usual assortment of giant aerial balloons to enchant the kiddies—the Grinch, Spider-Man, Pikachu—all the usual suspects. But then my friend Eric tipped me off to a past Thanksgiving parade that featured a disturbing sight for any child.

pinocchio 1937

No, I’m not talking about the horrifying Pinocchio that terrorized New York beginning in 1937. If you lie, Junior, your fate will be an excruciating, inflamed erection on your face!!

As scary as that no doubt was, I’m speaking of the guy below, who was promoting Hammer’s then-new Frankenstein monster as portrayed by Christopher Lee in The Curse of Frankenstein. The new and improved version of Frankie appeared in 1957, a dramatic reboot by the British Hammer Studios of Universal’s creaking old black-and-white series that had begun in 1931.

THANKSGIVINGFRANKIE

THANKSGIVINGFRANKIE2

Imagine you’re an 8-year-old minding your own business in front of Macy’s flagship Manhattan store at the holidays 1957 and this guy comes floating into view.

The tag line of the picture was, The Curse of Frankenstein…will haunt you forever! I think maybe I just explained a generation of vivisectionists who patrolled the streets of New York City in the 1960s and 70s.

Happy Holidays.

Painting Pictures

Villa Beukenhof at Rozendaalselaan 32 in Velp was built about 1920 and razed in the early 1970s to make way for an apartment building. It was here that Audrey spent most of the war, from August 1942 to the liberation of the town in April 1945. Big things will be happening on Saturday Sept. 14 at about the spot where you can see newly planted pine trees.

Hello, my name’s Robert, and I’m an introvert.

Hi, Robert.

This isn’t news to anybody who knows me, but some who have seen me at lectures and signings are surprised to learn I’m one of those. At any cocktail party you’ll find me rolled into a fetal position in the darkest corner where I hide until it’s over. If I find myself forced to be sociable in such circumstances, I’ll latch onto someone, anyone, who can carry the conversation and let that person serve as a human shield between me and everybody else.

All this said, it’s no surprise my favorite part of being an author is the sitting alone and writing part. Alone with my words. Calling up subject-matter experts and interviewing them, well, that’s part of the job, and about as much fun to me as digging out splinters. It forces me to interact and drains me more than your average half-marathon. But 98 percent of the time, I’m researching and writing all by myself.

Then at some point, all the words are written and the deadline has passed and the manuscript is out of my hands for good, and the countdown begins. The countdown to interviews on the radio, on podcasts, on television, or for newspapers. When all that’s done the public appearances begin and all these interactions involve a different discipline, especially for an introvert. As you can imagine, I used to sweat all these occasions, until one day when everything changed. I’ll always remember the date: January 16, 2014—the 72^nd anniversary of the crash of TWA Flight 3 and launch date, in Santa Monica, of my book Fireball. Some of you were there. I had prepared a speech for the occasion and was halfway through it, struggling, sweating, and not doing a very good job. I was fighting the situation.

Audrey in 1943 while she lived at Villa Beukenhof, at about the time she joined the Resistance movement.

I became infuriated with myself. Why am I struggling so? I have spent three years with Carole Lombard and know her about as well as I know myself, and yet I’m bombing.

It hit me all at once: You’re getting in the way of a great story. Nobody’s here to see you, idiot—they’re here to learn about Carole Lombard and that plane crash. I junked my notes halfway through and just talked.

I never got in the way of the story again through dozens of presentations for Fireball, then Mission, and now Dutch Girl. Somehow for an introvert this was a perfect solution: Tell the story, and stay out of the way. It’s never about the messenger and always about the message, whether Lombard, or Jimmy Stewart, or Audrey Hepburn. Stand aside and let the audience gaze upon these great stars they already love. Paint a picture of these luminaries and if it’s done right, I’m not there at all. Because it’s not about me.

(Not by coincidence, Jimmy Stewart and Audrey Hepburn were fierce introverts, which helped me understand them. I gravitated to both in part because they were introverts. It helped me write about them because I knew what they went through and their motivations for doing some of the things they did.)

In a week I fly to the Netherlands for the launch of the Dutch-language edition Audrey Hepburn: Het Nederlandse Meisje, literally, “Audrey Hepburn: the Dutch Girl.” I’ll spend all day Friday, September 13, with Dutch politicians and people in Velp who provided information for the book. Then Saturday, September 14, a bronze statue of Audrey will be unveiled at Rozendaalselaan 32, site of the villa where she spent the darkest days of the war. It was from this house that she would rush out to perform tasks for the Dutch Resistance. The statue was inspired by Dutch Girl: Audrey Hepburn and World War II, and it’ll be unveiled by Audrey’s son Luca Dotti. I am pretty sure there will be hundreds in attendance, and I’ll be giving a speech before Audrey fans as well as the people of Velp to whom I dedicated the book—including many who knew Audrey as a girl. Also in attendance will be representatives from every family important to Audrey and her war story: the van Heemstras, van Uffords, van Pallandts, and van Limburg Stirums.

My responsibilities are few: Be a reliable representative of my battered and often-embarrassing country. Don’t trip and fall. And above all, remember to stay out of the way as we celebrate a great humanitarian who was forged at that spot on that street in that war. It’s all about Audrey and the Dutch people who survived the Nazi occupation with her. They are my friends and deserve the spotlight; I’ll be instantly recognizable as the one staying out of the way.

Piece of cake for an introvert.

The Dark Horizon

Look out! The Germans—I mean, the Spanish—are about to invade, warns Errol Flynn as Geoffrey Thorpe in The Sea Hawk. A few months after this photo was taken, the battle of Britain commenced.

Errol Flynn and his home studio of Warner Bros. made a picture in 1940 that’s highly regarded as one of his best—well, by many devotees of classic cinema if not by me. I’ll readily acknowledge some brilliant moments, but I have too many nits to pick with The Sea Hawk to love it. One of my chief complaints is the script, and the funny thing is, The Sea Hawk didn’t make any sense to me until yesterday when I finally had a huge and hilarious aha moment. Compounding my problem is that way back in college I had first seen the 1947 reissue print of this picture, multiple times in fact, and that memory had stuck with me. The reissue print had more than 20 rather key minutes removed, including the opening strategic speech by King Philip II of Spain and the closing strategic speech by Queen Elizabeth I of England.

In the past 30 years, the missing footage was reconnected into a full 126-minute print of The Sea Hawk, and I only ever applied my brain to that print yesterday when it played on TCM/U.S. I realized just yesterday that the only way the absurd, confusing plot of The Sea Hawk can be comprehended is to substitute the word Germany every time you hear the word Spain. Any time they say the word Philip, insert the word Hitler. Then and only then does any of the nonsense make sense.

Guess what: It’s history time!

The Sea Hawk went into production at the end of January 1940 after delays of a few weeks while Flynn rested up following the exhausting production of wild and wooly Virginia City, chronicled previously on these pages.

CUT TO: King Philip of Spain’s opening speech: “The riches of the new world are limitless, and the new world is ours, with our ships carrying the Spanish flag to the seven seas; our armies sweeping over Africa, the Near East and the Far West. Invincible everywhere but on our own doorstep. Only northern Europe holds out against us? Why? The reason is a puny rock-bound island as barren and treacherous as her queen, who secretly gives aid to our enemies while her pirates plunder our commerce. We cannot keep northern Europe in submission until we have had a reckoning with England.”

He goes on at great length to say how short his lifetime is and how he must fulfill his destiny (Hitler had said this time and again). Then Philip stands beside a massive, and I mean 20-foot high, 30-foot wide, world map, and in silhouette, his finger pointing directly at Germany, recaps the global spread of Nazism—er, Spanish domination—concluding, “One day, before my death, we shall sit here and gaze at this map upon the wall. It will cease to be a map of the world. It will be Spain!”

As actor Montagu Love recited his lines on a Warner soundstage, Hitler had conquered Poland just four months earlier, completing the first round of European real estate acquisition—Austria, the Sudetenland, then the remainder of Czechoslovakia, and now Poland. Cameras rolled on The Sea Hawk during the time period known later as the Sitzkrieg, when it became quiet. Too quiet, and Hitler was apparently making Western Europe guess what he would do next. In reality, little Germany was trying to recover from war with Poland because what seemed to be a rollover was anything but, and the Poles had packed more of a punch than Hitler would allow in public. Germany always stretched its limited resources to the max any time it made an attack; history has lost sight of the fact that the Germans only had so many guys, weapons, fuel, and food to go around, which is why gobbling up territory became so important—to replenish all these things.

I can’t imagine that any kid in the audience, and there had to be scads of them because this was an Errol Flynn pirate picture, had any clue what all the speechifying was about, but their parents got an earful about the looming threat of Nazism and the inevitability of war. Warner Bros. was at the forefront of spreading the word after drawing a line in the pavement with production of Confessions of a Nazi Spy in 1939—it was a picture that pissed Hitler off and he said so. But pounding the message home was a gamble for the studio because the United States was still an isolationist nation determined to let the Europeans work out their problems.

It never made any sense to me why in this movie English pirate ships captained by “sea hawks” were allowed to raid Spanish shipping in time of peace. But careful listening reveals the British admiral in charge explaining to the queen, “Our privateers have made substantial contributions for the very purpose of providing a navy.”

And only Errol Flynn’s Geoffrey Thorpe, coolest of the “sea hawk” captains, has the guts to proclaim in the queen’s court: “Spain is at war with the world.”

There, the “puny, rock-bound island” needs defenses from the looming threat, and German—er, Spanish—ships deserve to be attacked because of the ruthless ambitions of Hitler—er, Philip.

The last half of the 1930s in European history is covered concisely during two hours of plot time in The Sea Hawk, courtesy of a hasty rewrite of the original script by Warner screenwriter Howard Koch. There’s the expansionism of Germany, the attempted appeasement by the British Chamberlain regime, and most important, the imminent threat of a German invasion of England as exposed in communications intended for the chief Nazi—er Spanish—agent working near the queen but intercepted by Thorpe in the last reel.

The picture concludes with a grim speech by the queen that was cut from reissue prints: “A grave duty confronts us all: to prepare our nation for a war that none of us wants, least of all your queen. We have tried by all means in our power to avert this war. We have no quarrel with the people of Spain or of any other country. But when the ruthless ambition of a man threatens to engulf the world, it becomes the solemn obligation of all free men to affirm that the earth belongs not to any one man but to all men, and that freedom is the deed and title to the soil on which we exist.” And she goes on from there with even more flag-waving.

No kidding, this is how a major motion picture ended in 1940, with a political speech! But Warner Bros. wasn’t run by fools, and the U.S. print faded to The End right after the queen knights her favorite sea hawk and before she holds her political rally. Only the British print contained the full Elizabethan address.

Queen Elizabeth, played by Flora Robson, knights Geoffrey Thorpe, and the U.S. version of The Sea Hawk fades out. In the British edition, Elizabeth goes on to inspire attendees with a speech about the world war dead ahead.

Upon the picture’s splashy release at the end of August, 1940, the Battle of Britain was raging, and wise ones in the audience knew the “great armada” of Spain, whose use had been threatened throughout the picture, wasn’t seaborne but rather airborne in the form of hundreds of German bombers and their fighter escorts.

I imagine little boys walked out of the theater wondering what the hell, but there had been enough action, pirates, and ships and cannon, to hold their interest. Who knew or cared about Nazi spies?

It would be another 16 months until the United States entered the war, and the conflict would indeed become a nightmare. The queen’s speech, shot at the beginning of February 1940, became prophetic about ruthless ambitions engulfing the world, and many in the audience who watched The Sea Hawk would die in the conflagration ahead. Then followed long decades and re-releases of edited prints of what would become just another pirate movie, if a revered one, with a plot that made no sense. At least to me. Until yesterday.

Outcasts

The Marx Bros. smuggle themselves into the port of New York in Monkey Business (1931).

I’ve been feeling nostalgic lately for just about everything from my youth. It’s funny the things that make us who we are. I bleed nitrate after most of a lifetime in classic film that began with a sudden and deep love of the Marx Bros. toward the end of 1973. I can’t remember how it started, but I jumped on the Marx bandwagon as a youngster during their college campus resurgence and enjoyed the hell out of many Marx double-bills with my dad at the Guild Theatre in Squirrel Hill, near the University of Pittsburgh.

My pal, Greenbriar’s John McElwee, asked not long ago if the Marxes could possibly play to college audiences today—I wonder the same thing. Imagine a 300-seat theater as the Guild was then, shoehorning in kids aged 18-21, and here I was, much younger than that. The double-bills paired The Cocoanuts and Monkey Business, Horsefeathers and Duck Soup, A Night at the Opera and A Day at the Races, At the Circus and The Big Store, and A Night in Casablanca and Love Happy. I know I’ve never laughed as hard as I did in the Guild in the dark, a lot of that the sharing of the experience with so many others so eager to laugh. I remember one particular Friday evening with a blue haze hanging in the air and the smell of pot so thick I choked on it. But son of a gun if the boys weren’t funniest of all on that occasion.

The Marxes made my scrapbook of 1970s memories. They even played a week at a suburban walk-in–can you imagine that happening today?

America needed a laugh back then, mired as the nation was in nightly reports of carpet bombing and dead soldiers, but that was life coming out of the turbulent ’60s. Now let’s do some math. In 1972, Horsefeathers—the story of Professor Wagstaff at Huxley College—was just entering middle age at a tender 40. Now let’s think of what was popular 40 years ago right now, way back in 1979, and that was the dead spot between Star Wars and The Empire Strikes Back; the year of Alien and Apocalypse Now. Those pictures hold up well today, but can you believe that in 1972, college kids were happy to watch black-and-white prints full of splices and sprocket damage representing pictures that reached back not only to the depths of the Great Depression but to Prohibition as well?

Do you even know who I’m talking about with the Marx Bros.? I imagine some of my younger visitors have never seen a Marx picture. There was cynical, wise-cracking Groucho, ingenuous and silent Harpo, loyal and good-hearted Chico, and up through 1933, handsome young straight man Zeppo. They resonated in the late ’60s and early ’70s as iconoclasts, challengers of authority, afraid of nothing and contemptuous of strait-laced society. Maybe audiences understood that off-screen the brothers were just the same—what you saw was what you got out of this collection of Jewish boys from New York City’s mean streets. No airs or pretentiousness with these guys. Chico was “a restless Aries who lived so fast he could hardly keep up with himself” (said biographer Joe Adamson); Harpo an onscreen imp who was IRL an intellectual who loved children and with his wife Susan adopted several and retired to a grapefruit farm; Groucho a serious thinker by nature who could rustle up any number of reasons not to do what he was supposed to do; and Zeppo a shrewd businessman who became Hollywood’s top talent agent.

Chico, Zeppo, Groucho, and Harpo. Only the two in the middle would live to see their counterculture renaissance.

They started in the wild west of pre-Code Hollywood and landed at Paramount, where they ruled a roost that turned out to be crooked—their studio was cooking the books and not paying them. The ornery brothers then moved to MGM where production chief Irving Thalberg thought they needed a makeover and it killed them. They retired a mere four years later and made only one real Marx picture after that, in 1946 for UA. Now it’s 86 years since the end of their Paramount heyday and the boys have slipped into obscurity. They didn’t fit in 1933 and they don’t fit in 2019, except to a small and loyal legion that includes yours truly. I will always love these guys for the experiences they gave me with my dad, and for the way they introduced me to classic Hollywood.

The Marx Bros. and their admirers had it best in those crazy counterculture days, after Chico and Harpo had passed on and Groucho was in his dotage selling out one-man shows all over the place, including Carnegie Hall—and with that one, Groucho the contrarian had the last laugh: He got there without practicing.