WWI Centennial: Brits Victorious At Megiddo

Photographer unknown, Wikimedia Commons // Public Domain
Photographer unknown, Wikimedia Commons // Public Domain

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 319th installment in the series. Buy Erik’s new WWI trivia book here!

SEPTEMBER 19-25, 1918: BRITS VICTORIOUS AT MEGIDDO

Following their victory in the Third Battle of Gaza and the capture of the ancient holy city of Jerusalem in December 1917, the Egyptian Expeditionary Force led by British commander Edmund Allenby kept continuous pressure on the Turkish Fourth, Seventh, and Eighth Armies. Those armies were all part of the Army Group Yıldırım (“Thunderbolt”) under German commander Liman von Sanders in northern Palestine. The new offensives were enabled by construction of military railroads to bring up guns and ammunition, and benefited from the growing momentum of the Arab Rebellion, led by Prince Feisal with help from his British intelligence attaché, Major T.E. Lawrence. Lawrence had captured the key port of Aqaba in July 1917 and now distracted and harried the Turks with lightning guerrilla attacks from out of the trackless eastern deserts.

By September 1918 the outnumbered and outgunned Turks had withdrawn to a line running from the River Jordan just north of the Dead Sea, west to the Mediterranean shore north of Jaffa, and bisecting Palestine. Intent on capturing Damascus before the end of the war, part of British maneuvering to exploit the Sykes-Picot Agreement, from September 19-25, 1918 Allenby achieved a breakthrough at the Battle of Megiddo. British sea power, resilient Indian and Egyptian infantry, dashing Australian cavalry, and the fighting grit of the rebel Arab Army made it possible. (Ironically, there was no actual fighting at Tel Megiddo, roughly in the center of the battlefield, which covered the Plain of Sharon, the Judean Hills, and the Jezreel Valley. Nevertheless, Allenby chose the name for symbolic resonance—Megiddo is the biblical site of Armageddon.)

The offensive, known to the Turks as the “Breakthrough at Nablus,” involved three main sections. First, to the east on September 18, the Arab Army attacked the enemy’s lines of communication, distracting the Turks and forcing von Sanders to send reinforcements to protect the desert railway. With the Turks now even more overstretched, on September 19 on the western end of the front, Anglo-Indian forces including the 54th (East Anglian) Division, 75th Division, Indian 3rd (Lahore) Division, Indian 7th (Meerut) Division, and the 60th (London) Division attacked and overwhelmed the Turkish Eighth Army, concentrated near the Mediterranean shore. Following the infantry breakthroughs, Allenby sent the Desert Mounted Corps, consisting of the British Fourth and Fifth Cavalry divisions and the Australian Mounted Division, racing ahead to cut off and encircle the Turkish Eighth and Seventh Armies—one of the most successful uses of cavalry in the war. Meanwhile, in the center, the 10th (Irish) Division and 53rd (Welsh) Division pivoted east towards the River Jordan, attacking the Turkish Fourth Army between Jericho and Amman from the west as the Arabs closed in from the east.

These victories reflected Allenby’s careful preparation and adoption of cutting-edge tactics, including the relatively short but devastating “creeping barrage” preceding the infantry advance and combined arms tactics that closely coordinated artillery, cavalry, air power, and a small but deadly fleet of armored cars (below, an armored car).

Armored car in World War I
Imperial War Museum, Wikimedia Commons // Public Domain

By September 21, the breakthrough had turned into a rout as the outnumbered and demoralized Turkish armies simply disintegrated. Virtually the entire force of 35,000 became casualties or surrendered, with just 6000 ragtag survivors left to make their escape to the north. Nablus and Nazareth fell on September 21 (top, Nablus after the war), followed by the key port of Haifa on September 23, the rail hub of Amman on September 25, and the strategic outpost of Daraa on September 27, 1918.

For the British and their Arab allies, the way now lay open to Damascus—but who would arrive first? This issue would have symbolic importance for the post-war world, and Feisal and Lawrence were determined that Damascus should be liberated by the Arabs, not European troops, to cement their claims to independence and nationhood.

The Battle of Megiddo was a study in contrasts as modern British weaponry and techniques were complemented by the ancient fighting techniques of Feisal’s Bedouin tribesmen. The Arab fighters’ motivations also tended to be more personal than the British, as most had lost family and friends to Turkish brutality long predating the Arab Rebellion. On September 27, after the Arabs captured the strategic town of Daraa, Lawrence’s party came across an Arab village that had just been destroyed by the retreating Turks:

“The village lay stilly under its slow wreaths of white smoke, as we rode near, on our guard. Some gray heaps seemed to hide in the long grass, embracing the ground in the close way of corpses. We looked away from these, knowing they were dead; but from one a little figure tottered off, as if to escape us. It was a child, 3 or 4 years old, whose dirty smock was stained red over one shoulder and side, with blood from a large half-fibrous wound, perhaps a lance thrust, just where neck and body joined.”

The Turkish atrocity provoked swift, terrible retribution from the desert nomads:

“I said, ‘The best of you bring me the most Turkish dead,’ and we turned after the fading enemy, on our way shooting down those who had fallen out by the roadside and came imploring our pity. One wounded Turk, half naked, not able to stand, sat and wept to us. Abdulla turned away his camel’s head, but the Zaagi, with curses, crossed his track and whipped three bullets from an automatic through the man’s bare chest. The blood came out with his heart beats, throb, throb, throb, slower and slower.”

T. E. Lawrence, a.k.a. Lawrence of Arabia
Hulton Archive/Getty Images

With Lawrence’s old ally Auda abu Tayi in charge, the Arab Army annihilates the Turkish column of around 2000 soldiers:

“The old lion of battled waked in Auda’s heart, and made him again our natural, inevitable leader. By a skillful turn he drove the Turks into bad ground and split their formation into three parts. The third part, the smallest, was mostly made up of German and Austria machine-gunners around three motor cars and a handful of mounted officers or troopers. They fought magnificently and repulsed us time and again despite our hardiness. The Arabs were fighting like devils, the sweat blurring their eyes, dust parching their throats … By my order we took no prisoners, for the only time in our war … In a madness born of the horror of Tafas we killed and killed, even blowing in the heads of the fallen and of the animals, as though their death and running blood could slake our agony.”

Turkish dead included around 200 prisoners whom Lawrence apparently ordered executed with machine guns after an Arab was found horribly mutilated:

“We ranged our Hotchkiss on them, and pointed at him silently. They said nothing in the moment before we opened fire: and at last their heap ceased moving, and Hassan was dead, and we mounted again and rode home slowly.”

See the previous installment, or all entries, or read an overview of the war.

Art Historian Says 10 Works in the Louvre’s Collection Were Looted by Nazis

Freezingtime/iStock via Getty Images
Freezingtime/iStock via Getty Images

By the end of the 1940s, about 60,000 of the 100,000 French artworks looted by Nazis during World War II had been returned to France, but not all of them made it back to their owners—some were auctioned off, while others were labeled as “National Museum Recovery” (MNR) and stored at various museums around the country, including the Louvre.

Earlier this month, the Louvre hired art historian Emmanuelle Polack to help identify the origins of those works, and she’s already traced 10 of them back to a Jewish lawyer from Paris named Armand Dorville, whose 450-piece collection was looted by the Nazis in the early 1940s.

Smithsonian reports that Dorville escaped to his southern chateau when the Nazis invaded Paris in 1940, leaving his collection behind. He died of natural causes a year later, and the Nazis sold his entire collection—containing works by Pierre-Auguste Renoir, Édouard Manet, and more—at a 1942 auction in Nice, where Louvre curator René Huyghe bought 12 items.

Ten of those items are still housed in the museum today, including four works by Henri Monnier, five by Constantin Guys, and one by Camille Roqueplan. The Musée d’Orsay owns the eleventh—a Jean-Louis Forain painting—and the twelfth is a lost bronze by Pierre-Jules Mène.

Polack knew the whereabouts of some of Dorville’s former possessions as early as last year, when the Louvre loaned two of them to her for an exhibition on MNR works that she was curating for the Shoah Memorial; the Musée d’Orsay’s painting was also part of that show.

Right now, Dorville’s great-niece, Francine X., has made a restitution claim for the artworks, which is still under investigation. And, considering that the Louvre holds almost 1800 MNR works in its collection, there could be more restitution claims to come.

[h/t Smithsonian]

The 25 Greatest War Movies of All Time

Benedict Cumberbatch in Sam Mendes's 1917 (2019).
Benedict Cumberbatch in Sam Mendes's 1917 (2019).
© 2019 Universal Pictures and Storyteller Distribution Co. LLC. All Rights Reserved.

It makes sense that master filmmakers keep returning to old wars to tell new stories, because war and cinema go hand-in-hand in many ways. War has everything you want to make a good story: Scope and spectacle, high stakes, dramatic tension, and emotional distress both at home and on the battlefield. It’s all right there, just waiting to be woven into an epic on the big screen.

What sets the best war movies apart, though, is their ability to never lose sight of the real human cost of war. The true masterpieces of the genre can deliver spectacle, yes, but they also tell us something more essential at the heart of every epic struggle in human history, something that unites us all no matter which side of the battle we may be on. With that in mind, here are 25 of the greatest war films ever made, from medieval epics to modern thrillers. To help narrow the list down, we mostly focused on movies that directly address the combat aspects of war versus dramas that are set during wartime.

1. All Quiet on the Western Front (1930)

Lewis Milestone’s film about a group of German soldiers drawn in by nationalism and then picked apart by the ravages of war remains the film against which all other World War I epics are measured. It was released more than 80 years ago, and its depictions of the horrors of war—blood-streaked men screaming in foxholes, bare hands clinging to barbed wire—still hold up to modern eyes. It’s one of the great war epics as well as one of the great anti-war films.

2. La Grande Illusion (1937)

One of the greatest anti-war films ever made, Jean Renoir’s La Grande Illusion succeeds in no small part because of the tremendous empathy running through every frame. No matter the side of the conflict each character falls on, they are treated as pawns within the greater illusion that war will do any of them any good. Renoir’s humanistic touch, coupled with his dazzling cast, make this film an all-time classic to such a degree that Orson Welles declared it one of his desert island movies.

3. Sergeant York (1941)

There are other "conscientious objector becomes war hero" films out there, but none has ever quite risen to the heights of Sergeant York for one simple reason: Gary Cooper. In the title role, Cooper delivers one of the finest performances of his storied career, and even as Howard Hawks infuses the film with a sense patriotic glory and duty, he trusts Cooper to imbue the story with an essential humanity. Sergeant York is a hero, yes, but Cooper never makes him into a superhero. The toll the war takes is right there in his eyes the entire time, and that makes this film a classic.

4. Twelve O’Clock High (1949)

Among Air Force-based war dramas, Twelve O’Clock High holds a particular place of reverence for a great many fans, and it ranks as perhaps among the best of the World War II dramas made while the war was still fresh in the minds of many Americans. Led by Gregory Peck’s tour-de-force performance as Brigadier General Frank Savage, the film builds in intensity right up to the climactic battle, and remains one of the most emotionally satisfying films of its genre.

5. The Bridge on the River Kwai (1957)

David Lean is the only director with two films on this list, because … well, he’s David Lean. The Bridge on the River Kwai is Lean’s seminal World War II epic about a group of prisoners, the bridge they build and then attempt to destroy, and the shifting allegiances that come with the emotional upheavals of war. Lean’s tremendous attention to detail, combining sweeping tracking shots with smaller moments like close-ups of ruined shoes on soldiers’ feet, and the Alec Guinness-led cast combine for a thrilling, often surprisingly funny, masterpiece.

6. Lawrence of Arabia (1962)

Steven Spielberg once said that David Lean’s Lawrence of Arabia is one of the few films he re-watches before every new project, and it’s easy to see why. The World War I drama is synonymous with epic filmmaking even now, nearly six decades after its release. Lean’s film, led by Peter O’Toole’s splendid work in the title role, retains a sense of wonder even after all these years thanks to jaw-dropping visuals, flawless editing, and a sense of scope to rival anything on the big screen today.

7. The Battle of Algiers (1966)

Few films have ever been able to depict both sides of an escalating conflict with as much unflinching intensity as The Battle of Algiers. Based on the events of the Algerian War and focusing specifically on the guerilla warfare that erupted during the conflict, Gillo Pontecorvo’s film is shot like a searing, unflinching docudrama, and the sense of verisimilitude is palpable and deeply affecting.

8. The Dirty Dozen (1967)

Some war films are reverent, measured, and delicate with their depiction of the particular horrors of conflict and what it does to the people on the front lines. Then there are films like The Dirty Dozen, a film without which we might never have gotten things like Inglourious Basterds or the modern version of DC Comics’s Suicide Squad, which appeared in the 1980s. Robert Aldrich’s film takes a murderer’s row of acting talent and a tremendous sense of adventure and infuses it all with the kind of chaotic energy that only soldiers with nothing to lose could muster. The result is the kind of film those who love it want to watch over and over again.

9. M*A*S*H (1970)

One of the greatest anti-war films of all time, Robert Altman’s M*A*S*H combines an irreverent, sometimes surreal sense of humor with realistic dialogue and some truly absurd situations to create a tapestry of comedy and tragedy. The film places its characters right on the edge of the action, just close enough that the blood is often quite literally on their hands as they work, then examines what that kind of precarious placement can do to a group of people whose job is to heal. It’s an essential film, and not just because of its afterlife as a legendary TV series.

10. Patton (1970)

Even if Patton had nothing else going for it, the film would likely still succeed thanks to the sheer force of will of George C. Scott. The actor’s legendary, knockout performance as the title character carries the movie, but it’s not all that makes Patton great. Director Franklin J. Schaffner uses Scott’s performance as a linchpin, framing the narrative of war through Patton’s bombastic eyes and tireless spirit. The result is a war film unlike any other, one driven by a single unstoppable personality.

11. The Deer Hunter (1978)

To say that Michael Cimino’s The Deer Hunter is one of the more “problematic” Vietnam War films ever made might be a bit of an understatement to some, but more than 40 years after its release it’s hard to deny the visceral power at the heart of the film. Some aspects of the storytelling—most famously, the Russian roulette sequences at the heart of the movie—function as rather blunt instruments that hammer the point home, but they strike so hard and ring so true that the film is impossible to ignore.

12. Apocalypse Now (1979)

The New Hollywood era of the 1970s gave rise to several prominent filmmakers who would eventually turn their attention to the Vietnam War in critical, satirical, and often incisive ways, but none of them ever did it better than Francis Ford Coppola. After crafting two masterpieces with the first two Godfather films, Coppola went through hell to craft his hellish journey into the heart of darkness of a generation-defining war, and the result is the greatest Vietnam War movie ever made.

13. Das Boot (1981)

Wolfgang Petersen’s Das Boot is a film that succeeds in part thanks to its sense of contrast. It’s a war epic and it delivers the goods of a war epic, but much of it takes place within the tiny confines of a German U-Boat. It’s packed with tense, explosive action, but it counterbalances that action with stretches of quiet, contemplative boredom. The result is one of the most gripping portrayals of the mundane horror of war ever, told in an environment few other films in the subgenre have ventured into.

14. Ran (1985)

Akira Kurosawa was a master of many aspects of cinematic storytelling, but one of his greatest strengths was easily his ability to make violence explode out at his audience with unpredictable ferocity. Ran, Kurosawa’s loose adaptation of William Shakespeare’s King Lear, is perhaps the best example in the director’s entire filmography of his knack for creating epic conflict. The film’s gorgeous sets and detailed costumes are all set up beautifully only to be swept up in the chaos of the story in some of the most realistically kinetic war sequences ever shot.

15. Platoon (1986)

Based on writer/director Oliver Stone’s own experiences in Vietnam, Platoon steers clear of the most bombastic, epic level depictions of the war and instead focuses on the titular unit of men and the transformative effects the crucible of war has on them. Led by powerhouse performances from Charlie Sheen, Willem Dafoe, and Tom Berenger, Platoon remains one of the most relentlessly intense war movie experiences of all time.

16. Full Metal Jacket (1987)

Stanley Kubrick made a habit out of directing war films thanks to Spartacus and Paths of Glory. Full Metal Jacket was his last experience with the genre, and it feels like he poured everything he had learned into it. The film’s genius lies largely in its structure, as it shows us just how far these soldiers are pushed by basic training before they’re actually thrown out into the war. The training sequences, led by R. Lee Ermey’s amazing drill sergeant performances, are the best-remembered of the film, but the Vietnam sequences near the end are truly stunning.

17. Braveheart (1995)

Mel Gibson’s epic about the life of William Wallace and his rise as leader of a Scottish revolution in the late 13th century is one of those films that just compels you to watch until the end every time you see it on cable. Gibson’s magnetic, charismatic central performance is key to this, but somehow his directing is even more powerful. From the sweeping scenic beauty of Scotland itself to the rapid-fire brutality of the battle sequences to James Horner’s goosebump-inducing score, Braveheart is medieval epic filmmaking at its best.

18. Saving Private Ryan (1998)

Steven Spielberg’s harrowing World War II film is perhaps best remembered for its relentless, breathless opening sequence that depicts the brutal D-Day landing of Allied Forces at Omaha Beach. It’s an all-time great war movie sequence, but that’s not the only reason Saving Private Ryan endures. Its stacked ensemble cast, powerful yet simple central story, and overwhelming emotional resolution combine to make it a modern classic.

19. The Thin Red Line (1998)

No one else could make a World War II film quite like Terrence Malick, and as proof we have The Thin Red Line. The film defies easy description, despite the relatively straightforward backdrop of its emotional journey. What is ostensibly the story of a company of men fighting at Guadalcanal in 1942 becomes a deeply philosophical film that documents the overwhelming intellectual and emotional gauntlet of war. And while war is by its very nature not a beautiful thing, this just might be the most visually stunning war film made since Lawrence of Arabia.

20. Downfall (2004)

Few films have ever wished or dared to interact with Adolf Hitler on a personal, intimate level, for obvious reasons. In the realm of war cinema, the leader of Nazi Germany often exists as some kind of near-supernatural embodiment of ultimate evil, but Downfall sought to change that. The film does not sympathize with Hitler’s madness, but through Bruno Ganz’s unforgettable performance, it does allow us an opportunity to see the man’s unraveling in a compelling, perhaps even cathartic, way.

21. Kingdom of Heaven (2005)

Ridley Scott’s modern war epic Black Hawk Down narrowly missed inclusion on this list, because while it’s a masterpiece, his Kingdom of Heaven is a brilliant piece of work that remains underseen. Scott’s attempt to turn a modern lens on the Crusades—specifically Saladin’s capture of Jerusalem in 1187—combines a spectacular cast with some of the best epic visuals of the esteemed director’s career. Look for the Director’s Cut of the film for an even more robust experience.

22. Inglourious Basterds (2009)

Leave it to Quentin Tarantino to make a World War II film that feels like it came from both an alternate universe and straight out of our own warped rage fantasies. Inglourious Basterds combines Tarantino’s legendary knack for dialogue with a truly brilliant cast and a brutal sense of humor to tell the story of a unit of Nazi hunters and their efforts to bring down Hitler himself in the midst of a German movie premiere. Taut, violent, and hilarious, Inglourious Basterds walks a line few other war films ever could.

23. The Hurt Locker (2008)

Kathryn Bigelow’s film about a bomb disposal unit in Iraq and what their high-pressure job does to them works because it attacks your psyche on two fronts. On one front, there’s the human side of these soldiers, which we see through the film’s dark sense of humor and compelling ensemble cast. On the other, there’s the kind of virtuoso directing that won Bigelow the Oscar for Best Director (making her the first—and still the only—woman to take home that particular award). A lot of directors could have made The Hurt Locker suspenseful, but only Bigelow could have made it this suspenseful.

24. Dunkirk (2017)

Christopher Nolan’s Dunkirk turns the filmmaker’s masterful eye for pacing, visual elegance, and structural intrigue to the events of World War II, and the result is one of the most pulse-pounding movies of the 2010s. Anchored by a tremendous cast, the film tells the story not of one of the war’s great attacks, but one of its most essential retreats. Nolan’s brilliant sense of tension, coupled with Hans Zimmer’s ticking-clock score, combine to keep you on the edge of your seat—even if you know how it ends.

25. 1917 (2019)

Sam Mendes’s Golden Globe-winning World War I epic, based on stories told to him by his veteran grandfather, has gained a lot of press because of its “one-take” style, which might lead you to believe that it’s a gimmick film. Instead, 1917 rises beyond the structural hook of its filming style to become a meditation on the relentless nature of life in battle, and the way even the quietest moments can pivot into horror at any moment. Roger Deakins deserves another Oscar for his stunning cinematography, and George MacKay and Dean-Charles Chapman carry the emotional heft of the film like true champions, even when surrounded by A-list names like Colin Firth, Benedict Cumberbatch, and Andrew Scott.

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