Red Orchestra (55 page)

15
. Richard Breitman,
Official Secrets,
p. 24.

16
. Kuckhoff,
Vom Rosenkranz zur Rote Kapelle,
p. 182.

17
. Ibid., pp. 194–195.

18
. See Theodor Pfizer, “Hans Hartenstein, ein preussischer Schwabe,”
Schwäbische Heimat,
no. 1, 1979. See also Kuckhoff,
Vom Rosenkranz zur Rote Kapelle,
p. 172.

19
. Griebel, Coburger, and Scheel,
Erfasst?,
p. 202.

20
. Kuckhoff,
Vom Rosenkranz zur Rote Kapelle,
pp. 176–177.

21
. Ibid., p. 199.

1
. Robert H. Keyserlingk,
Austria in World War II: An Anglo-American Dilemma,
p. 43.

2
. Robert Gellately,
Backing Hitler,
p. 46. For Coffey's background, see James Allan Matte,
Forensic Psychophysiology Using the Polygraph,
p. 29.

3
. Agostino von Hassell and Sigrid MacRae,
Alliance of Enemies,
p. 22.

4
. Quoted in Allen Dulles,
Germany's Underground,
p. 16.

5
. Leopold Trepper,
The Great Game,
p. 23. Most of Trepper's friends settled in the autonomous Jewish “homeland” of Birobidzhan, which Stalin had established on the Manchurian border. It attracted Jewish Communists from around the world, including Florida and California. See “Stalin's Forgotten Zion,”
http://www.swarthmore.edu/Home/News/biro/html/panel01.html
.

6
. Robert Tucker,
Stalin in Power,
p. 506. One of Trepper's classmates was Yugoslavian Josip Broz, nicknamed “Tito.” See Trepper,
The Great Game,
p. 38.

7
. See Robert Conquest,
The Great Terror,
pp. 485–488.

8
. Alexandra Richie,
Faust's Metropolis,
pp. 619–620.

9
. Ruth Fischer,
Stalin and German Communism,
p. 44. Neumann was also known for ordering the assassination of two anti-Communist Berlin policemen in 1931.

10
. Conquest,
The Great Terror,
p. 401.

11
. Tucker,
Stalin in Power,
p. 507.

12
. Bertolt
Brecht, Journals 1934–1955,
p. 20.

13
. Regina Griebel, Marlies Coburger, and Heinrich Scheel,
Erfasst?,
p. 240.

14
. Conquest,
The Great Terror,
p. 402.

15
. Tucker,
Stalin in Power,
p. 510.

16
. Stephen Walsh,
Stalingrad: The Infernal Cauldron,
p. 16.

17
. Conquest,
The Great Terror,
pp. 344, 394.

18
. Shareen Brysac,
Resisting Hitler,
p. 214.

19
. Ibid., p. 215.

20
. Stefan Roloff and Mario Vigl,
Die Rote Kapelle.

21
. Quoted in Brysac,
Resisting Hitler,
p. 227.

22
. Donald Heath to Sumner Welles, October 21, 1940, FDR Library, see
http://www.fdrlibrary.marist.edu/psf/box31/t296j05.html
. Quoted in Roloff and Vigl,
Die Rote Kapelle,
pp. 123–124.

23
. Quoted in Brysac,
Resisting Hitler,
p. 227.

24
. Roloff and Vigl,
Die Rote Kapelle,
p. 124. Donald Heath Jr. grew up to be a U.S. intelligence officer and served as a witness to Arvid Harnack's efforts on behalf of the Americans.

25
. Brysac,
Resisting Hitler,
p. 425.

26
. See John Weitz,
Hitler's Banker.

27
. Brysac,
Resisting Hitler,
p. 425, quoting State Department cable traffic September 16, 1937, citing
Völkischer Beobachter.

28
. Richard Grunberger,
The 12-Year Reich: A Social History of Nazi Germany, 1933–1945,
pp. 401–402.

29
. Grunberger,
The 12-Year Reich,
p. 402.

30
. Peter Hoffmann,
The History of the German Resistance,
p. 252.

31
. Terry Parssinen,
The Oster Conspiracy of 1938.
Also see Hoffmann,
The History of the German Resistance,
pp. 90–91, 255; and Brysac,
Resisting Hitler,
p. 299.

32
. Parssinen,
The Oster Conspiracy of 1938,
p. 158.

33
. Ibid., p. 186.

34
. Brysac,
Resisting Hitler,
p. 249.

35
. Author interview with Richard Hottelet, December 14, 2006.

36
. Donald Heath Jr., cited in Brysac,
Resisting Hitler,
p. 270.

37
. Brysac,
Resisting Hitler,
pp. 250–251; and Hoffmann,
The History of the German Resistance,
pp. 117–119.

1
. Regina Griebel, Marlies Coburger, and Heinrich Scheel,
Erfasst?
says the date was in 1939, but Hans Coppi places it in fall 1940.

2
. Griebel, Coburger, and Scheel,
Erfasst?,
p. 72.

3
. Karl-Heinz J. Schoeps,
Literature and Film in the Third Reich,
p. 259.

4
. Edwin Zeydel, “A Survey of German Literature During 1937”
Modern Language Journal
22, no. 7, 1938, p. 516. Zeydel was restrained with his praise; he listed
Kuckhoff among Germany's minor writers, and called his novel “too much a case study to be a work of art.”

5
. Tobis Film evolved from a parent company called Deutsche Tonfilm. In 1928, Deutsche Tonfilm merged into a conglomerate called Tonbild Syndicat, whose name was condensed to “Tobis.” The company was designed to monopolize the technology of sound-film production in Germany. See Klaus Kreimeier,
The UFA Story,
p. 179.

6
. Ingeborg Malek-Kohler,
Im Windschatten des Dritten Reiches,
p. 144.

7
. Langbehn would be arrested, tortured, and executed for his involvement with the 20th of July plot by the end of the war.

8
. Tobis was fully integrated into UFA in 1942, but still had its own releases.

9
. Malek-Kohler,
Im Windschatten des Dritten Reiches,
p. 142.

10
. Ibid., pp. 148–149. Dorsch's 1936 film was
Die Frau ohne Bedeutung,
a German version of Oscar Wilde's
A Woman of No Importance.

11
. Malek-Kohler,
Im Windschatten des Dritten Reiches,
pp. 157–158.

12
. Author interview with Robby Lantz. Gustaf Gründgens, another Göring favorite and object of Klaus Mann's scorn, also used his influence to help colleagues suffering under the Nazis; see Malek-Kohler,
Im Windschatten des Dritten Reiches,
p. 163. Thomas Mann's son Klaus, writing from exile in Paris, took a cynical view of Emmy Göring in his novel
Mephisto:
“It was said of her, admiringly, that she occasionally pleaded with her husband for Jews in high social positions—yet Jews were still being sent to concentration camps. Lotte was called the Good Angel of the prime minister; yet his cruelty had become no milder since she had gone to work on him.”

13
. See David Clay Large,
And the World Closed Its Doors: The Story of One Family Abandoned to the Holocaust,
p. 111.

14
. Malek-Kohler,
Im Windschatten des Dritten Reiches,
pp. 182–183.

15
. Greta Kuckhoff,
Vom Rosenkranz zur Rote Kapelle,
p. 226; Griebel, Coburger, and Scheel,
Erfasst?,
p. 58; Shareen Brysac,
Resisting Hitler,
p. 235.

16
. Elsa Boysen,
Harro Schulze-Boysen,
p. 6.

17
. Ibid., pp. 8–9. See also Stefan Roloff and Mario Vigl,
Die Rote Kapelle,
p. 95.

18
. Heinz Höhne,
Codeword: Direktor,
pp. 158–159.

19
. The offices were on Eichhornstrasse, off Potsdamer Platz.

20
. Kuckhoff,
Vom Rosenkranz zur Rote Kapelle,
pp. 227–228; Brysac,
Resisting Hitler,
p. 127.

21
. Günther Weisenborn, “Reich Secret,” in Eric Boehm,
We Survived,
p. 193.

22
. Kuckhoff,
Vom Rosenkranz zur Rote Kapelle,
p. 128.

23
. Hans Coppi and Geertje Andresen, eds.,
Dieser TodPasst zu Mir,
p. 162.

24
. Brysac,
Resisting Hitler,
p. 128.

25
. Coppi and Andresen,
Dieser Tod Passt zu Mir,
p. 226—literally,
“Man solle die alten Kamellen lassen.”

26
. They included sculptor Kurt Schumacher and Walter Küchenmeister. See Griebel, Coburger, and Scheel,
Erfasst?,
p. 130.

27
. Malek-Kohler,
Im Windschatten des Dritten Reiches,
p. 160.

28
. Thomas Doherty,
Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930–1934,
pp. 94, 385.

29
. Brysac,
Resisting Hitler,
p. 233; Hans Coppi and Johannes Tuchel,
Libertas Schulze-Boysen und die Rote-Kapelle,
p. 10.

30
. The American film industry appeared to take it in stride: “American attitude on the matter is that American companies cannot afford to lose the German market no matter what the inconvenience of personnel shifts,”
Variety
reported. Do-herty,
Pre-Code Hollywood,
p. 94.

31
. Coppi and Tuchel,
Libertas Schulze-Boysen und die Rote Kapelle,
p. 13.

32
. Coppi and Andresen,
Dieser Tod Passt zu Mir,
pp. 206, 212.

33
. Ibid., p. 228.

34
. Ibid., pp. 229–230.

35
. Malek-Kohler,
Im Windschatten des Dritten Reiches,
p. 184.

36
. Ibid., p. 159.

37
. Ibid.

38
. After the war Göring told his Nuremberg interviewers: “Hitler didn't like wood carvings but was an enthusiast of bronze or stone. I prefer wood. Hitler was a south German—an Austrian really—and I was more influenced by my northern German ancestry.” Leon Goldensohn,
The Nuremberg Interviews,
p. 106.

39
. Höhne,
Codeword: Direktor,
p. 167.

40
. Weisenborn,
Memorial,
p. 183; Sigrid Bock and Manfred Hahn,
Erfahrung Nazideutschland,
p. 255.

41
. Weisenborn's play
Die Neuberin,
written under the name “Christian Munk,” was a major success. It was produced as a feature film starring Käthe Dorsch, the actress who wheedled Göring into winning permission for Jews to leave the country and for the Engelsings to marry.

42
. Griebel, Coburger, and Scheel,
Erfasst?,
p. 168.

43
. See Malek-Kohler,
Im Windschatten des Dritten Reiches.

44
. Coppi and Andresen,
Dieser Tod Passt zu Mir,
p. 256.

45
. Ibid. See also Wulf Koepke, “Günther Weisenborn's Ballad of his Life,” in Neil Donahue and Doris Kirchner, eds.,
Flight of Fantasy,
p. 235. All of Germany was gripped by the metaphor of epidemiology. Another example was the 1938 classic
La Habanera,
directed by Douglas Sirk and starring Zarah Leander and Ferdinand Marian. The film depicts German scientists outperforming their American rivals from the Rockefeller Foundation in wiping out an epidemic in Puerto Rico.

46
. Günther Weisenborn,
Memorial,
pp. 212–214. Quoted in Wulf Koepke, “Günther Weisenborn's Ballad of his Life,” Neil Donahue and Doris Kirchner, eds.,
Flight of Fantasy,
p. 246, fn. 13.

47
. Coppi and Andresen,
Dieser Tod Passt zu Mir,
p. 244.

1
. Hans Coppi and Geertje Andresen, eds.,
Dieser Tod Passt zu Mir,
p. 237. See also Regina Griebel, Marlies Coburger, and Heinrich Scheel,
Erfasst?,
pp. 58–59. Dissel survived the war to become an important film actor in East Germany. Some of his best-known films
(Naked Among Wolves, The Gleiwitz Case, The Architects)
touched on themes of resistance and dissent.

2
. Coppi and Andresen,
Dieser Tod Passt zu Mir,
p. 229.

3
. Ibid., p. 252. See also Shareen Brysac,
Resisting Hitler,
p. 237.

4
. Coppi and Andresen,
Dieser Tod Passt zu Mir,
pp. 252–253.

5
. Brysac,
Resisting Hitler,
p. 238.

6
. Stefan Roloff and Mario Vigl,
Die Rote Kapelle,
p. 104.

7
. Hans Sussmann, “Errinerungen des KPD-Mitglieds Hans Sussmann,” Deutsches Historisches Museum,
www.dhm.de/lemo/forum/kollektives-gedaechtnis/043/index.html
.

8
. Coppi and Andresen,
Dieser Tod Passt zu Mir,
pp. 240, 255.

9
. Roloff and Vigl,
Die Rote Kapelle,
p. 104.

10
. Griebel, Coburger, and Scheel,
Erfasst?,
p. 130.

11
. “We Are the Peat Bog Soldiers” was recorded by Norman Luboff, folk-singers Theodore Bikel and Tom Glazer, and Ernst Busch, among many others.

12
. David Barclay and Eric Weitz,
Between Reform and Revolution,
p. 366.

13
. Griebel, Coburger, and Scheel,
Erfasst?,
p. 100. Langhoff became a major figure in postwar German theater, and was called the “Communist Gustaf Gründ-gens.” See Wolfgang, Schivelbusch,
In a Cold Crater,
chapter 3.

14
. Coppi and Andresen,
Dieser Tod Passt zu Mir,
p. 270.