Russians Resume Brusilov Offensive

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 245th installment in the series.

July 28, 1916: Russians Resume Brusilov Offensive 

Perhaps the most stunning development of 1916, surpassing even Verdun and the Somme, was the massive success of the Russian offensive on the Eastern Front launched by General Alexei Brusilov, widely regarded as one of the most talented commanders of the First World War. A pioneer of “combined arms” tactics – in which artillery, shock troops, regular infantry, and aerial reconnaissance worked in close coordination to overwhelm enemy defenses – in June 1916 Brusilov was given authority over the entire Russian Southwest Front, with four armies under his command, and stunned the world by breaking through the Austrian defenses and pushing the demoralized Habsburg armies back over a hundred miles in places. After a pause to regroup and redeploy his forces (including the addition of the Third Army and a special Guards Army, drawn from elements drawn from other Russian armies, the latter not shown on the map below), on July 28, 1916, Brusilov resumed the offensive – but this time with only limited success.

Click to enlarge

Simply bringing Brusilov’s armies to a state of readiness again was an impressive feat, given the incredible logistical difficulties the Russians faced in Galicia, Bukovina, and southeast Poland (now western Ukraine), served by some of the most primitive infrastructure in Europe, including narrow, unpaved roads – or no roads at all – and a glaring deficiency in motorized transport. Stanley Washburn, a war correspondent following the Russian armies, described the achingly slow progress of supply columns and reinforcements moving to the front in July: 

Miles and miles of peasants’ carts bearing food, provender, huge loaves of bread, were succeeded by four-horse wagons piled high with regimental and staff baggage. These, in turn, turned aside to let the field telegraph outfit pass, with its innumerable little two-wheeled carts loaded with poles and coils of wire for communications. Perhaps behind them a long column of the two-wheeled, two-horse carts holding the small-arm ammunition for the infantry passed tumultuously over the rough cobbled stones… Wagons loaded with barbed wire wound on great spools were conspicuous in the procession… A dozen times a day the traffic must pull aside to permit the passage of troops going to the front. These came through, battalion after battalion, their copper-tinged faces now gray with the fine, white dust of the road.

Violent thunderstorms didn’t help matters much, although they did make for some surreally picturesque nighttime vignettes, as recorded by Washburn, who at least got to travel in one of the scarce automobiles: 

… in two minutes we were wallowing through mud six inches deep, with wheels spinning and smoking tires filling the air with the smell of superheated rubber. One instant the entire landscape would be thrown into vivid relief by the flash of the lightning, and the next, with eyes half blinded by the glare, we would be staring into blackness... With the coming of the flashing lightning, with its illumination of the country for miles about, we could see that we were in the midst of the seething life of the army… For one instant one sees them stretching away ahead and behind on the road as far as the eye can reach, and then the return of the darkness shuts them out as utterly as the putting of a cap on the lens of a camera.

After several false starts, by late July Brusilov’s forces were ready to launch the next phase of the offensive. At 4 a.m. on July 28 the Russian artillery opened up along the entire front, stretching from near Czernowitz to the southern reaches of the Pripet marshes, followed just an hour later by the first infantry attacks by the Russian Eleventh Army against the hybrid Austro-German Südarmee (South Army). Although the Eleventh Army failed to make much progress here, it did succeed in pinning down the Südarmee, preventing the Germans and Austrians from sending reinforcements elsewhere. 

This set the stage for more successful attacks further south, where the Russian Ninth Army’s artillery pounded the Austro-Hungarian Third Army and forced it to retreat towards the town of Stanislau (today Ivano-Frankivsk in western Ukraine) and threatened to breach the juncture with the Südarmee, forcing the latter to pull back as well. Meanwhile further north the Russian Eighth Army inflicted a shattering defeat on the beleaguered Habsburg Fourth Army, led by swarms of Russian shock troops, who overwhelmed the first line of Austro-Hungarian defenses and captured the second line so quickly there was basically no time to react. 

These breakthroughs were exploited by bands of Russian Cossacks, who excelled at their traditional mission of sowing chaos behind the lines and generally striking terror into the enemy, often armed with weapons that wouldn’t have looked out of place in the medieval period (top, Cossacks in Galicia). Malcolm Grow, an American surgeon volunteering with the Russian Army, described seeing a Cossack unit in action around this time: 

Each man was armed with a fourteen-foot lance with a knife-like steel point, a great curved sabre at his side with a blade like that of a razor, a short dagger with a nasty two-edge blade in the belt, and a carbine on a leather strap slung across the shoulder… After running the Austrians through with their long lances, the Cossacks would ride by and disengage their weapons with a strong pull. Occasionally, however, the lance would be torn from their grasp, and then out would flash their long keen sabres. I attended a number of Germans after this fight, which showed the deadly power of the Cossack cutting stroke… One man I attended had his entire arm and shoulder carried away by a single blow from a sabre. Another poor devil had been struck in the top of the head and he was split through to his breast-bone, the skull cut as clean as though the work had been done with a saw. 

By the end of July 28 the Habsburg Fourth Army had lost 15,000 men, most of these taken prisoner after surrendering with little resistance.

However Brusilov’s main push, towards the town of Kovel, met with less success. After some initial victories by the Russian Third and Guards Armies, the German and Austrian commanders wisely withdrew a relatively short distance to safe defensive positions behind the Stokhod River, a tributary of the Pripet River (for which the Pripet Marshes are named). The Russians found it impossible to even reach the Stokhod, as thousands upon thousands of troops were mowed down by Central Powers artillery while approaching through the mud of the broad, open marshes lining the river (below, the Stokhod River today). 

Despite very heavy losses, the Russians continued the offensive in the days that followed, keeping the pressure on the Austrians but making only gradual progress, in large part due to a lack of coordination between Brusilov’s army commanders. On July 30, Washburn described the strangely dispassionate attitude of Russian artillerymen shelling enemy positions behind the Stokhod: 

As we came up, the whole operation was proceeding as methodically as a drill. An officer sitting on a stump, with a notebook, was directing the fire from instructions received every few minutes from an orderly at a telephone in a near-by bomb proof. All the directions were in figures denoting changes in elevation and deviation from the target, and not a man in the battery, the officer not excepted, knew what their target was. Their aiming point was a tree in the rear, and as long as the gunner had his sights on that he cared not whether he was shooting at a village, a trench, or an enemy battery. The man at the breech sat at his post with as little concern as though working a lathe in a machine shop. The war has become absolutely casual, as a matter of fact, and these people go about their work without excitement or confusion. 

In early August Brusilov regrouped before mounting a new wave of attacks, which again achieved some notable successes – but the balance of forces was gradually beginning to turn against the Russians, as supply lines stretched out and artillery started to run low on ammunition, while the Germans rushed more divisions to shore up their helpless Austrian allies. 

Overall the Brusilov Offensive had a major impact on the course of the war, but its effects were ambiguous. On one hand, along with the British and French attack at the Somme, it forced German chief of the general staff Erich von Falkenhayn to withdraw troops from Verdun, ending the great German offensive of 1916 and leading to Falkenhayn’s removal and replacement by Paul von Hindenburg, the hero of Tannenberg. It also persuaded Romania to join the war on the side of the Allies (though this proved a mixed blessing, at best). 

But Brusilov’s victories also came at an astronomical cost: from June to September 1916, when the offensive ended, Russia suffered an incredible 1.4 million casualties, bringing its total losses for the war to date to around eight million, including killed, wounded, prisoners, and missing.  By the second half of 1916 it was becoming increasingly clear that Russia could no longer sustain these losses while maintaining loyalty to the autocratic and ever-more dysfunctional monarchy of Tsar Nicholas II. Something had to give. 

See the previous installment or all entries.

12 Epic Facts About David Lynch's Dune

Kyle MacLachlan stars in David Lynch's Dune (1984).
Kyle MacLachlan stars in David Lynch's Dune (1984).
Universal Pictures Home Entertainment

In 1984, more than a decade of development hell culminated in the release of Dune, the long-awaited, big-screen adaptation of Frank Herbert’s seminal science fiction novel about a messianic figure rising from a desert planet where a mysterious spice was harvested. After several different filmmakers tried (and failed) to bring it to the screen, Dune finally arrived via David Lynch, a then up-and-coming filmmaker who’d never been tested on a film of that size and scope.

The result was one of the most fascinating cinematic messes of the 1980s, the product of a tricky adaptation process, editorial clashes, and a filmmaker who never felt satisfied with the work he was doing under the watchful eye of his producers. In celebration of its 35th anniversary, here are a dozen facts about the making of Dune, from last-minute casting choices to battles over the final cut.

1. It took years to get Dune made.

Though Dune didn’t make it to the big screen until 1984, the journey from page to film actually began more than a decade earlier with producer Arthur P. Jacobs, best known for science fiction hits like Planet of the Apes. Jacobs announced his production of Dune in 1972, seven years after Frank Herbert’s novel was initially published. Jacobs’s production eventually unraveled and the producer passed away in 1973, leading to an effort from French producers to get the film made. That, too, eventually fell apart, leaving the rights to be claimed by yet another producer.

By the late 1970s, producer Dino De Laurentiis had purchased the rights to Dune, hoping to make the film with his daughter Rafaella, who adored Frank Herbert’s original novel. Then came the problem of finding a director, which Dune had struggled with before.

2. Several directors tried to make Dune.

Back in 1972, when Jacobs was working to get his adaptation of Dune off the ground, he announced that director Haskell Wexler (Medium Cool) would direct the film. Ultimately, the adaptation proved too unwieldy and costly for Jacobs to mount, and the rights were passed along to French producers who’d purchased them for director Alexandro Jodorowsky, best known at the time for his surreal Western El Topo.

Jodorowsky launched an extravagantly ambitious plan to adapt Dune into something that was very much his own vision, conceiving the project as an epic that would run as long as 14 hours, with a soundtrack by Pink Floyd and a cast including everyone from his own son Brontis as Paul Atreides to Orson Welles and Salvador Dalí as the Emperor. After three years in pre-production, Jodorowsky had already burned through much of the film’s budget, and the project stalled while gaining its own legendary reputation. Jodorowsky’s vision for the project was ultimately immortalized in the 2013 documentary Jodorowsky’s Dune.

In 1980, with De Laurentiis now driving the project, the director’s chair was offered to Ridley Scott, then fresh off his own sci-fi success with Alien. Scott was interested, but several factors—including Universal Pictures’ anxiety over the project’s budget—led him to ultimately walk away in favor of yet another sci-fi project: Blade Runner.

With Scott out, Dino and Rafaella De Laurentiis went searching for another director. That’s when they saw a new historical drama called The Elephant Man.

3. David Lynch was hired for Dune because of The Elephant Man.

A photo of David Lynch
Getty Images

At the end of 1980, David Lynch only had two feature films to his name: The experimental nightmare Eraserhead and the acclaimed historical drama The Elephant Man, both of which were black-and-white films that showcased Lynch’s knack for striking visuals. The Elephant Man catapulted Lynch into mainstream visibility and critical acclaim. The film earned eight Academy Award nominations, four Golden Globe nominations, and won three BAFTAs, including Best Film. It also drew the eyes of Dino and Rafaella De Laurentiis, who saw Lynch as the perfect up-and-coming visual stylist to tackle Dune. Despite their love of The Elephant Man, the De Laurentiises did not go back and watch Eraserhead until after Lynch was hired.

“If I had seen it without knowing him, I probably would have walked out,” Rafaella De Laurentiis later said of Lynch’s debut feature.

4. David Lynch turned down Star Wars to make Dune.

After The Elephant Man became a massive critical success, Lynch began work on the film that would become Blue Velvet, but at the same time other filmmakers were looking at the director to take on more commercial projects. According to Lynch, he was at one point considering working on an adaptation of Thomas Harris’ novel Red Dragon (which was finally adapted as Manhunter by Michael Mann in 1986), but an even bigger offer had also arrived on his table. George Lucas was looking for a filmmaker to take on directing duties for his third Star Wars film, and wanted Lynch.

“I went to meet George Lucas, who had offered me the third Star Wars to direct, but I’ve never even really liked science fiction,” Lynch later recalled. “I like elements of it, but it needs to be combined with other genres. And, obviously, Star Wars was totally George’s thing.”

So, Lynch turned down what would become Return of the Jedi, ultimately in favor of taking on Dune.

5. David Lynch hadn’t heard of Dune before he was offered the film.

David Lynch, despite his leaning toward various genre quirks in his works, was never a particular fan of science fiction, which put him in an interesting position in the early 1980s when he was offered two major science fiction projects in the wake of The Elephant Man’s success. He was so out of the loop on major sci-fi stories, in fact, that when Dino De Laurentiis called him, he had a difficult time understanding exactly what he was being offered.

“And Dino says, ‘I want you to read this book, Dune,’” Lynch recalled. “I thought he said ‘June,’ you know, and I said, ‘June’? He said, ‘No, Dune.’ And so then a friend of mine said, ‘Man! That is a great science fiction book,’ and I said, ‘I know, that’s what I heard.’ So I started reading it.”

Lynch went on to get so deep into Dune that he wrote half a dozen drafts of the screenplay, and consulted frequently with author Frank Herbert.

6. Kyle MacLachlan was cast in Dune because he was an unknown actor.

Kyle MacLachlan and Ramón Menéndez in Dune (1984)
Universal Pictures Home Entertainment

When it came time to cast Dune, Lynch and Rafaella De Laurentiis knew it was important to strike the right tone with the actor who would play the film’s hero, Paul Atreides. To do this, they decided that instead of pursuing a known star, they would seek out an unknown young actor who could lend a somewhat mysterious presence to the film. De Laurentiis sprang into action and organized casting agents for a nationwide search to find the film’s Paul. While casting scout Elizabeth Leusting was combing the Pacific Northwest for talent, she came across a 25-year-old actor who’d been performing in the Oregon Shakespeare Festival. Kyle MacLachlan was nearly finished with school and was already planned to make a move to New York City to begin auditioning on his way to an acting career. Instead, he was put on the fast track by winning the lead role in Dune.

MacLachlan’s casting wasn’t just the launch of his screen acting career. It was also the beginning of a lengthy collaboration with Lynch which included Lynch’s follow-up to Dune, Blue Velvet, as well as the iconic cult TV series Twin Peaks.

7. Helena Bonham Carter was Dune’s original Princess Irulan.

As the cast of Dune was coming together and preparing to begin production on the film in Mexico City, the producers ran into a major obstacle. Helena Bonham Carter, the original choice to play Princess Irulan, had a scheduling overlap between Dune and A Room with a View, which she was already shooting. Because the schedules conflicted and A Room with a View “wouldn’t let her out” of work on that film, there was what Virginia Madsen later called a “mad scramble” to find a replacement actress.

Madsen, then an relative unknown, went in to audition in an all-white outfit which David Lynch later saw a Polaroid of. Based on her “classic look,” he chose her as Princess Irulan, which she later called her “big break.”

“Really all I had to do was that monologue, and I was really a glorified extra,” Madsen said.

8. David Lynch and Dino De Laurentiis clashed over the edit.

Dune is a massive, densely detailed novel that establishes a vast sense of place and continuity, which made it a particular challenge to adapt. Once Lynch had a usable screenplay to make the film, the massive scope of Dune translated over into production in Mexico City, where 75 sets and thousands of costumes were made to bring Lynch’s vision of Herbert’s universe to the screen. By the end of production, Lynch had put together a work print that was 4-5 hours long, and eventually trimmed that down to a cut of the film that was somewhere near three hours.

De Laurentiis was having none of that. The producer believed the film needed to be closer to two hours in order to be theatrically successful, and set about condensing Lynch’s original cut down to his preferred runtime. Sequences were cut or heavily abbreviated, and De Laurentiis even oversaw reshoots to add certain elements, including the opening in which Princess Irulan (Virginia Madsen) speaks directly to the camera to set the stage for the story. The additions were made after test screening audiences complained the film was hard to understand, but they arguably only muddied the waters even more.

Though he was dissatisfied with his lack of final cut on the film, Lynch has resisted any opportunity to go back and recut Dune, so much so that when the film was expanded for a television release, Lynch asked that his name be replaced with “Alan Smithee,” the traditional pseudonym for directors who don’t want to be credited on films they’re unhappy with.

9. David Lynch learned a valuable filmmaking lesson from Dune.

Virginia Madsen, Kyle MacLachlan, and Sting in Dune (1984)
Virginia Madsen, Kyle MacLachlan, and Sting in Dune (1984).
Universal Pictures Home Entertainment

Dune was David Lynch’s third feature film, and it turned out to be his first and, to date, only exercise in big-budget franchise filmmaking. Ever since Blue Velvet his career has been marked by smaller budget, often downright experimental, feature films so singular that they’ve earned their own adjective: Lynchian. There’s a reason for this, even beyond Lynch’s pursuit of his own particular filmmaking interest. On Dune, he learned a very specific lesson that would help to define his future as a director.

“When you don’t have final cut, total creative freedom, you stand to die the death, die the death. And died I did,” he recalled. “When you have a failure, like they say there’s nowhere to go but up. It’s so freeing. It’s beautiful, in a way.”

10. Dune helped get Blue Velvet made.

David Lynch has come to look back on Dune as a disappointing exercise in compromise, but he also acknowledges that making the film was “both great and horrible, side by side.” Though he clashed with De Laurentiis over the cut of the film, he did still find a kinship with his producers that went beyond the difficulties of making the film.

“I love Dino and I love Rafaella and I loved working with them,” he later said. “We were like a family. I just know the way they are and they know the way I am. We loved each other in spite of it.”

De Laurentiis obviously loved Lynch back, and had faith in what he could do if he was granted more artistic freedom on a smaller film, because the De Laurentiis Entertainment Group financed Lynch’s follow-up to Dune, Blue Velvet. That film, a nightmarish mystery that once again starred Kyle MacLachlan, is still considered among Lynch’s greatest artistic successes.

11. There were big sequel plans for Dune.

At the time Dune was in production, Frank Herbert had already published four novels in his Dune series, with two more – Heretics of Dune and Chapterhouse: Dune – set to follow in 1984 (the year Dune was released) and 1985. That meant there was a vast sandbox of intellectual property for De Laurentiis and company to play in if the film was successful, and the producers certainly intended to keep going. After completing work on Dune, Lynch went right into working on the screenplay for a sequel, and MacLachlan was contracted to return for up to four more films if Dune proved a success. Years later, Virginia Madsen recalled that her own contract for Dune was for three movies, as the producers “thought they were going to make Star Wars for grown-ups.”

Of course, Dune ultimately grossed a little more than $30 million worldwide on a budget of at least $40 million, so no sequels were in the cards.

12. Frank Herbert enjoyed David Lynch’s Dune.

Sean Young and Kyle MacLachlan in Dune (1984)
Sean Young and Kyle MacLachlan in Dune (1984).
Universal Pictures Home Entertainment

Nearly two decades passed between the time Frank Herbert published Dune and the release of David Lynch’s film adaptation. Along the way, Herbert saw the many different attempts to bring his story to the screen, and he spent a good deal of time in consultation with Lynch as the director developed his version of the Dune screenplay. So, when it was completed, how did he feel about the film?

In an interview with Lynch from around the time of Dune’s release, Herbert seemed quite pleased with the film, particularly the visuals.

“I get asked a specific question a lot of times, if the settings, the scenes that I saw in David’s film match my original imagination, the things I projected in my imagination. I must tell you that some of them do, precisely,” Herbert said. “Some of them don’t, and some of them are better. Which is what you would expect of artists such as David and Tony Masters. I’m delighted with that! Why not take it and improve on it visually? As far as I’m concerned the film is a visual feast.”

Additional Source: Lynch on Lynch, Revised Edition (2005), edited by Chris Rodley

Rewind Time With This Blockbuster-Themed Party Game

Amazon/Big Potato Games
Amazon/Big Potato Games

With only one Blockbuster location left in the world, the good old days of wandering video rental store aisles and getting chewed out for late fees are definitely a thing of the past—but like so many relics from the '90s, the pull of nostalgia has ensured that Blockbuster (or at least the brand) won't disappear for good. Now the video store is back in the form of a party game from Big Potato Games that is designed to test the movie knowledge of you and up to 11 friends.

Marketing itself as “a movie game for anyone who has ever seen a movie,” the Blockbuster party game consists of two parts. In part one, players from each team compete head-to-head to name as many movies as they can that fit under specific categories (e.g., movies with Tom Cruise, famous trilogies, movies with planes). In the second half, two teams face off against each other to test their skills at a game of movie-related charades. The catch? Players can only describe movies in one of three randomly chosen ways: acting out scenes, rattling off a famous quote, or describing the films with one word.

The real selling point of the whole package is that Big Potato fit all the game cards and buzzer into a box that is virtually identical to the old-school Blockbuster VHS rental cases, right down to its distinct color scheme and shape. All it's missing is the membership card. 

The Blockbuster board game costs $26 on Amazon and $20 at Target. That’s a fair price for getting the chance to rewind time.

Mental Floss has affiliate relationships with certain retailers and may receive a small percentage of any sale. But we choose all products independently and only get commission on items you buy and don't return, so we're only happy if you're happy. Thanks for helping us pay the bills!

SECTIONS

arrow
LIVE SMARTER