Plotters Decide to Kill the Archduke

Wikimedia Commons
Wikimedia Commons

beThe First World War was an unprecedented catastrophe that killed millions and set the continent of Europe on the path to further calamity two decades later. But it didn’t come out of nowhere. With the centennial of the outbreak of hostilities coming up in August, Erik Sass will be looking back at the lead-up to the war, when seemingly minor moments of friction accumulated until the situation was ready to explode. He'll be covering those events 100 years after they occurred. This is the 110th installment in the series. 

March 26 - 27, 1914: Plotters Decide to Kill the Archduke

In March 1914, the Balkan cauldron was simmering away, as Austria-Hungary faced fresh difficulties in Albania and Serbia and Montenegro threatened to merge, promising further instability. But it was a plot unfolding behind the scenes that lit the fuse for the greatest conflict in history. 

At first glance March 7, 1914 marked a diplomatic success for Austria-Hungary, as a German aristocrat, Prince Wilhelm Friedrich Heinrich of Wied, arrived in the Albanian city of Durazzo to take the throne of the new nation. This was supposed to be the culmination of several years of diplomacy and saber rattling by Austria-Hungary’s foreign minister Count Berchtold, who persuaded the other Great Powers to create a new, independent Albania to deny Serbia access to the sea after the First Balkan War (the Austrians feared Russia might use a Serbian port as a naval base). The only problem with the scheme was that it completely ignored reality: The Prince of Wied commanded neither troops nor loyalty in Albania, and his “authority” was confined to Durazzo, propped up by a small Dutch-Austrian force. It wasn’t long before a powerful tribal leader, Esad Pasha Toptani, began plotting rebellion in the hopes of grabbing the crown.

Meanwhile, Montenegro and Serbia were in talks to create a customs union as a precursor to a full political union. This was another nightmare scenario for Austria-Hungary, as it would give Serbia its long-coveted access to the sea and set the stage for the final struggle to liberate the Dual Monarchy’s Southern Slavic peoples. Montenegro’s King Nikola wasn’t necessarily thrilled about the idea of Serbia absorbing his tiny kingdom but the great Slavic patron, Russia, supported the merger. So on March 15, Nikola tried to put the best face on things by inviting Serbia’s King Peter to negotiations for an eventual union that would, the Montenegrin king wrote, “give joy not only to the peoples of Serbia and Montenegro but also to the brother Serbs not yet liberated [and] all Southern Slavism…” On April 2, Serbia’s King Peter responded with a letter expressing “tremendous joy” over the idea, as “such fraternal agreement would form the best foundation for the future of Serbia…”

Although negotiations were put on hold by the outbreak of hostilities a few months later, contemporaries recognized that the Serbian-Montenegrin union was itself a possible flashpoint for a continent-wide war. Following a visit to Vienna, on April 5 Kaiser Wilhelm II reported an alarming rumor to the German foreign office: “King Nikita is secretly to sell his land to Serbia, Russia would in the event advance the sum and thereby acquire a claim to compensation on the coast… If it later comes to light and Austria wants to put up an opposition and call the Serbs to account, Russia would at once go to their help and world war would be upon us.”

The Conspirators Target Franz Ferdinand 

In March 1914, a ragtag group of part-time high school students, pamphleteers, and coffeehouse intellectuals began plotting a murder that would shake the world to its foundations—although at the time none of them had any idea what its real impact would be. While many details remain murky due to conflicting accounts, historians have pieced together the rough outline and timing of the plot, including the role played by members of Unity or Death, an ultranationalist cabal directed by Serbian military officers in Belgrade also known as the Black Hand, and Young Bosnia, an underground organization in Austrian Bosnia.

For several years, a Bosnian Serb teenager and member of Young Bosnia, Gavrilo Princip (above, top row, left), had been drifting back and forth between Sarajevo, the provincial capital of Austrian-controlled Bosnia, and the Serbian capital Belgrade, where he was supposedly attending high school but actually spent most of his time talking politics with other radical Serbian nationalists in grimy cafés. On March 13, 1914, after a visit home to Bosnia Princip returned to Belgrade, where he was soon to be found in his usual haunts.

In late March, one of Princip’s café colleagues, Nedjelko Čabrinović (above, top row, right), supposedly received an envelope with no return address, containing a clipping from a Bosnian or Croatian newspaper about Archduke Franz Ferdinand’s planned visit to Sarajevo on June 28—known to Serbs as Vidovdan, the anniversary of the Serbian defeat by the Turks at the Field of Blackbirds in 1389. In this version of events, Čabrinović showed the clipping to Princip, who shared his indignation at the apparent insult in the visit’s timing, and on March 27 the friends swore a secret oath to assassinate the heir to the Austrian and Hungarian thrones.

Meanwhile Princip’s best friend in Sarajevo, a nationalist newspaper editor named Danilo Ilić (who had recently joined Unity or Death, also known as the Black Hand—above, top row, center) also received word about the Archduke’s planned visit around this time—again, supposedly from a newspaper clipping sent to him anonymously. However he learned about it, Ilić was thinking along the same lines as Princip by late March, when he met his friend Muhamed Mehmedbašić (not pictured), a Bosnian Muslim and fellow member of Young Bosnia, who was still hoping to carry out an earlier plot to assassinate Oskar Potiorek, the Austrian governor of Bosnia.

On March 26, 1914, Ilić told Mehmedbašić that the plan to kill Potiorek had been canceled by the Black Hand’s shadowy leadership—but added that a new plot was being organized against the life of the Archduke. Princip later claimed that he wrote to Ilić around Easter (April 12, 1914) to recruit him into the conspiracy, only to find that Ilić was already considering a similar plan. In the following weeks the conspiracy grew as Princip and Čabrinović recruited their friend Trifun Grabež in Belgrade (above, bottom row, left), while Ilić enlisted Vaso Čubrilović (bottom row, center) and Cvjetko Popović (bottom row, right), both living in Sarajevo.

Some of the conspirators later denied that they had any outside help organizing the “outrage” (as terrorist attacks were termed): At their trial, Čabrinović claimed, “In the company we frequented the conversations always turned on outrages… Nobody told us straight out: ‘kill him,’ but in those circles we came round to the idea by ourselves,” and Princip insisted, “The idea of it originated with us and it is we who carried it out.” But they were almost certainly inspired and directed by members of the Black Hand, led by the chief of Serbian military intelligence, Dragutin Dimitrijević, codename Apis (below, left).

Wikimedia Commons

For one thing, the plotters needed weapons; thus Princip got in touch with a middle-aged nationalist radical named Milan Ciganović (below, right), an employee of the Serbian national railway who’d fought in the Balkan Wars and belonged to the Black Hand. Ciganović sometimes worked for Major Vojislav Tankosić (below, center), who was in turn the right-hand man to Dimitrijević. Ciganović obtained four pistols and several small bombs from a Serbian military armory, which Princip claimed he sent to Ilić sometime in April, and it seems impossible that Ciganović would have done this without the knowledge and approval of Dimitrijević.

Furthermore, the whole story of anonymous newspaper clippings seems rather suspicious, as does the coincidence of Princip and Ilić spontaneously arriving at the same idea; while the clippings may have played some role in advancing the conspiracy (perhaps as a previously agreed signal) it seems more likely the entire plan was coordinated from an earlier date, following the failure of the plot against Potiorek. Through his spy network Dimitrijević likely heard of Franz Ferdinand’s visit to Sarajevo shortly after the Archduke agreed to the trip in mid-February, and well before it was publicized in the newspapers. According to several other accounts, Princip was in contact with Tankosić and Ilić as early as January, and Tankosić told him that the Black Hand had decided to kill the Archduke soon after.

Serbia’s civilian government smelled a rat: On March 18, Serbian Prime Minister Nikola Pašić ordered an investigation of the Black Hand, which he rightly suspected of plotting a military coup against him because of his moderate stance towards Austria-Hungary. Eventually Pasic got wind of the plot against the Archduke from Ciganović, who was apparently an informer for the government inside the Black Hand. But it was all too little, too late.

Meanwhile on March 16, 1914, the bellicose Austrian chief of the general staff, Conrad von Hötzendorf, once again called for war in a conversation with the German ambassador to Vienna, Baron Heinrich von Tschirschky. But Tschirschky politely reminded Conrad that a key figure stood in the way—Archduke Franz Ferdinand, who opposed any suggestion of preemptive war.

See the previous installment or all entries.

21 Fun Facts About Elf

Warner Home Video
Warner Home Video

Everyone knows the best way to spread Christmas cheer is singing loud for all to hear! But the second best way is to enjoy Elf. Revel in the giddy glow of this modern holiday classic with a slew of secrets from behind the scenes.

1. Jim Carrey was initially eyed to play Buddy the elf.

When David Berenbaum's spec script first emerged in 1993, Carrey was pre-Ace Ventura: Pet Detective and attached to front the Christmas film. However, it took another 10 years to get the project in motion, at which time Saturday Night Live star Will Ferrell was signed to star. Carrey would go on to headline his own Christmas offerings—the live-action How The Grinch Stole Christmas and the CGI animated A Christmas Carol.

2. Will Ferrell worked as a mall Santa.


Warner Bros.

And his A Night at the Roxbury co-star Chris Kattan was his elf. This was back when the pair were pre-Saturday Night Live, and part of the comedy troupe The Groundlings. Ferrell recollected to Spliced Wire, "I have some experience playing Santa Claus … Chris Kattan was my elf at this outdoor mall in Pasadena for five weeks, passing out candy canes. It was hilarious because little kids could care less about the elf. They just come right to Santa Claus. So by the second weekend, Kattan had dropped the whole affectation he was doing and was like (Ferrell makes a face of bitter boredom), 'Santa's over there, kid.'"

3. Director Jon Favreau favored practical effects.

Inspired by the Christmas specials he grew up with, Favreau explained in the film's commentary track that he employed “old techniques” instead of CGI whenever possible. This included stop-motion animation, and using forced perspective to make Buddy look like a giant among his elf peers. For North Pole scenes, two sets were built—one larger scale for the actors playing elves, the other smaller to make Buddy and Santa look big. These elements where then carefully overlaid in camera, using lighting to blend the seams.

4. Snow was often computer-generated.


Warner Home Video

Some effects just couldn't be practical. These included the snowflakes that drift over the opening credits, and many of the snowballs in Buddy's pivotal fight scene. It's probably not much of a shocker that much of these were added in post, considering Buddy's perfect aim. But to further underscore the drama that is a snowball fight in frosty New York, Favreau asked composer John Debney to give this section a Western vibe that would recall The Magnificent Seven.

5. Elf's production design was heavily influenced by Rudolph The Red-Nosed Reindeer.

The classic stop-motion Christmas special from 1964 gave a memorable presentation of Santa's winter wonderland to which Favreau wanted to pay tribute. The elves' costumes in Elf were inspired by those worn by Hermey and his peers in the animated film. And Elf's workshops were modeled after the Rankin/Bass designs, as were the stop-motion animals of the area. The production did secure permission for these allusions, and was even granted the privilege of using the company's signature snowman.

6. There's a Christmas Story cameo.

Peter Billingsley, who memorably played the Red Ryder-wanting Ralphie in the 1983 holiday classic, popped in to play Ming the elf. It's an uncredited role, but between the glasses and those bright baby blue eyes, Billingsley stands out as an A Christmas Story Easter egg. This marks just one of many Billingsley and Favreau's collaborations. Billingsley has been a producer on several of Favreau's film and television projects.

7. Jon Favreau played multiple parts in Elf.

Jon Favreau directs Will Ferrell in 'Elf' (2003)
Alan Markfield, New Line Productions

As a writer/director/actor, Favreau has often appeared in his own films. He fronted Made with friend Vince Vaughn, and later found a sweet supporting role for himself in Iron Man. You may have picked him out as the doctor in Elf, but on the DVD commentary, Favreau revealed he also tapped in to his inner narwhal and provided the voices for some of the stop-animation critters who see Buddy off from the North Pole. He also voiced the rabid raccoon Buddy encounters.

8. Baby buddy was fired.

To play the bubbly baby version of the titular elf, Favreau had initially cast twin boys whose blonde curly hair made them great little doubles for the mop-topped Ferrell. However, the production ran into a problem when the boys couldn't perform. Instead of smiling and crawling as needed, they cried relentlessly. To replace them, brunette triplet girls were brought in, who were far perkier and more playful, and thereby ready for their close-ups.

9. Buddy was bullied in an early version.

In first drafts of Berenbaum's Elf script, Buddy's decision to seek out his dad was in part because he was being hassled by the actual elves for being different. Favreau pushed to take out this element. He preferred to keep the North Pole characters warm, even when Buddy bugs them. In the DVD commentary, Favreau offers, “It explained why Buddy was doing all these good things in New York if he grew up in a world where everybody was so sweet even when he’s obviously screwing everything up and doesn’t fit in at all.”

10. Elf hockey hit the cutting room floor.

Poor Buddy accidentally wreaks all kinds of havoc on his elf community because of his ungainly size. One such scene of his well-meaning mayhem featured Buddy playing hockey on a frozen pond. The friendly game becomes unintentionally violent when the too-big Buddy takes to the ice. Though it was shot, it ended up being chopped from the finished film.

11. Elf was shot on location in New York when it counted.

Like many productions, this one took advantage of the financial benefits of filming in Canada, and much of Elf was shot in sound stages in Vancouver. However, when Buddy comes to New York, it was important to Favreau to shoot on location whenever possible. This includes all the Manhattan exteriors, as well as scenes shot at Rockefeller Center, Central Park, and Central Park West, where Buddy's dad lives.

12. Some of Elf’s sets were built in a horror factory.

Okay, technically it was an abandoned mental hospital, where the production team constructed the interior sets for Walter's Central Park West apartment, Gimbels's lavish toy department, and that grim prison cell. The facility is called Riverview Hospital, and it has played host to a long list of film and television productions, including The X-Files, Final Destination 2, Jennifer's Body, and See No Evil 2.

13. Macy's stood in for Gimbels.

The sprawling department store that takes up a whole block in Manhattan was digitally altered to transform into Elf's Gimbels. A bit awkward: Gimbels was once a real department store, and a noted rival of Macy's. Though immortalized here and in the 1947 classic Miracle on 34th Street, the department store closed its doors in 1987, its 100th year of operation.

14. Will Ferrell broke James Caan.


Warner Home Video

The Academy Award-nominated star of The Godfather was hired to play Walter in part because Favreau wanted a stern persona to play against Ferrell's giddy Buddy, and Caan took the comedy of Elf seriously. He knew it was crucial for Walter to be annoyed—never amused—by his supposed son's antics. But when it came to the blood test scene where Buddy bellows when pricked by a needle, Caan cracked. Watch closely and you'll see he turns away from the camera so as not to ruin the take.

15. The studio didn't get a joke from the mailroom sequence.

This was the last set piece shot for Elf, and one that filmmakers were wavering on from its conception late in production. Grizzled Mark Acheson's casting as Buddy's drinking buddy concerned execs because of the line, "I'm 26 years old." The studio noted the actor does not look 26, to which Favreau—who had previously cast Acheson in a small role that had been cut before production—responded that this disconnect was part of the joke.

16. Will Ferrell went method with those jack-in-the-boxes.

In the scene where Buddy suffers as a toy tester, he's subjected to popping open an endless stream of menacing jack-in-the-boxes. The anxiety etched on Ferrell's face in these scenes is real. Rather than standard jack-in-the-boxes that would pop at the song's end, these were remote controlled by Favreau, who purposely manipulated their timing to toy with his star and get authentic reactions.

17. Will Ferrell frolicked all over New York City in character.

The final day of Elf's New York shooting was pared down from a massive crew to just three people: its star, its director, and one cameraman. Together, this trio traveled around the city, looking for mischief for Buddy to get into with random passersby turned background extras. This included him leapfrogging across a pedestrian walk, happily accepting flyers, and getting his shoes shined, all of which made it into the movie's cheerful montage.

18. That epic burp was real, but overdubbed.

Though uncredited, that lengthy belch came not from Ferrell, but from noted voice actor Maurice LaMarche, who might be best known for Brain of Pinky and the Brain. LaMarche shared his secret to such an impressive burp with The A.V. Club, saying, "I’ve always been able to do this weird effect, where I turn my tongue, not inside out, but almost. I create a huge echo chamber with my tongue and my cheeks, and by doing a deep, almost Tuvan rasp in my throat, and bouncing it around off this echo chamber, I create something that sounds very much like a sustained deep burp."

19. Elf made its star stick.

In the movie, Buddy is happy to gobble down an endless supply of sweets, including maple syrup-coated spaghetti and cotton balls made of cotton candy. But this sugary diet played havoc on Ferrell, who told About Entertainment, "That was tough. I ingested a lot of sugar in this movie and I didn't get a lot of sleep. I constantly stayed up. But anything for the movie, I'm there. If it takes eating a lot of maple syrup, then I will—if that's what the job calls for."

20. Will Ferrell refuses to make Elf 2.

Though the comedian reprised the role of Ron Burgundy for Anchorman 2: The Legend Continues and returned as Mugatu in Zoolander 2, he flat out rejected the possibility of bringing back Buddy, even after being offered a reported $29 million. In December of 2013, he told USA TODAY, "I just think it would look slightly pathetic if I tried to squeeze back in the elf tights: Buddy the middle-aged elf."

21. Elf became a hit Broadway musical.

From November 2010 to January 2011, Elf the musical ran on Broadway, boasting songs like "World's Greatest Dad," "Nobody Cares About Santa," and "The Story of Buddy The Elf." This run was a huge success, taking in more than $1.4 million in one week, a record for the Al Hirschfield Theater where it debuted. Plus, The New York Times called it, "A splashy, peppy, sugar-sprinkled holiday entertainment." A revival hit in time for Christmas 2012, and national tours have been recurring.

Can You Guess J.K. Rowling's Fantastic Beast From Its Magical Power?

SECTIONS

arrow
LIVE SMARTER