Armenian News
Network / Groong
Casting of actors portraying Talaat and Morgenthau is
quite good in the film “the promise”: A few images to substantiate this opinion
Armenian News
Network / Groong
May 12, 2017
Special to Groong by Eugene L.
Taylor and Abraham D. Krikorian
Long Island, NY
“Every
time I hear Talaat’s name, I see the image of Satan, sly,
cunning,
dishonest and insincere, the repository of a black,
oriental soul.
The dog was Mephistophelean [diabolical]…”
Statement attributed to
Armen Garo (Karekin Pasdermadjian) by Assadoor Khederian [Endnote 1]
We saw “The Promise” on Thursday the 20th of
April 2017 at the Lowe’s Multiplex Cinema in Stony Brook, Long Island. Initially we believed that we had arranged
tickets for Friday, the 21st , which we understood
to be the official day of opening at theaters nationwide. Just how this mix-up occurred is not clear. No matter, we saw it and thought it was a
quite good film. It certainly will put
film making about the Armenian Genocide on a fresh new and important footing.
We were both especially pleased that the film included the notorious
and outrageous scenario wherein Talaat asks for the names of Armenians who had
taken out insurance policies. Morgenthau
relates “One day Talaat made what was perhaps the most astonishing request I
had ever heard. The New York Life
Insurance Company and the Equitable Life Insurance Company of New York had for
years done considerable business among the Armenians. The extent to which this people insured their
lives was merely an indication of their thrifty habits.”
“I wish,” Talaat now said “that you would get
the American life insurance companies to send us a complete list of their
Armenian policy holders. They are
practically all dead now and have left no heirs to collect the money. …The State is the beneficiary now. Will you do so?” That was almost too much, and I lost my
temper. “You will get no such list from me,” I said, and I got up and left
him.” [Endnote 2]
The photo below shows Ambassador Morgenthau. The photograph is undated but we suspect that
it fits very well into the time frame of his service in Constantinople. (He left Turkey on February 1, 1916, eventually
departed Copenhagen, Denmark and Kristiana [Oslo],
Norway on Monday February 7 and arrived in New York February 22, 1916. Henry Morgenthau was nominally on home leave
for 60 days but never went back. The
photograph of him in a bowler/homburg hat reproduced in Mostly Morgenthaus: a family history by Henry Morgenthau III (1991,
Ticknor & Fields, NY – photos unpaginated) shows him and his son
Henry Jr. being greeted by the family in New York on February 22, 1916. The Ambassador wears the same kind of shirt winged collar as seen in the photograph we have
decided to use here. (Our dating is certainly
in the correct time frame. The Library of Congress says it received the glass
negative in 1919 but we would maintain that the photograph itself derives from an
earlier period. The glass negative is in
the American Red Cross photograph collection [http://hdl.loc.gov.pnp/anrc.03467.; call number LC-A6195-5175 P & P].)
James Cromwell, whom we recognized through our familiarity
with his role as George Sibley in the popular 2001 to 2005 TV series “Six Feet
Under” bears an uncanny resemblance to Henry Morgenthau and gives a very
convincing performance.
One need only Google the names James Cromwell and Henry
Morgenthau Sr. and one can see many examples that will enable one to make
comparisons with the ‘real’ Ambassador Morgenthau and the Actor Cromwell.
Mehmed Talaat, variously transliterated as Talat
or Talât etc., was played in The Promise
by the British actor Aaron Neil. Again, he was very convincing. He was quite well cast on the basis of overall
appearance, build and complexion.
There are a number of photographs of Talaat that we could
have selected for use here but we believe that none even approximates the one
we provide for poignancy.
The photograph shown below derives from the work of Austrian
artist Wilhelm Victor Krausz (1878-1959) and reproduced in his 1916 “Die Türkei im Weltkrieg. Bildnisse und Skizzen” 1916 [Endnote 3]
Mehmed Talaat was of Pomak background, that is to say his
ancestry was from Bulgarians who had espoused Islam. Some have opined that he was of gypsy descent
on his mother’s side but we have not seen convincing evidence that this was so.
He was born in 1870 in Adrianople (today
Edirne). He was strongly built, stout even
corpulent and apparently had huge square fists.
For us he looks more like an old time pro wrestler from the 1920s than
someone who is described by some as being charming but a pragmatic zealot. One could easily defend the view that Talaat was
a thug of the old “political boss” school.
Talaat was convicted and sentenced to death in absentia in the ‘Constantinople
War Crimes trials.’ He
was assassinated by the young Armenian student Soghomon Tehlirian in Berlin
on March 15, 1921.
Talaat’s image in partial profile here is listed in the Index
of the Plates in Krausz’s volume as Plate 5 and bears the designator in
translation “Minister of the Interior Talaat Bey.” Incidentally, Talaat was not elevated to the
rank of Pasha until early February 1917 when he was made Grand Vizier. Bey
rather than Pasha would have been appropriate when the Morgenthau episode under
discussion here took place.
We printed Talaat’s color portrait on glossy photo paper from
a scan so as to examine his facial characteristics and especially the eyes more
closely. The dimensions of the Krausz volume
(50 X 40 cm; 20 X 16 inches) are such that a good image could indeed be
obtained. It is a rare book and we were
able to use the Princeton University Library copy. (The image is also reproduced
along with other Krausz images in half-tone grey in Austria-Hungarian Military
Attaché Josef Pomiankowski’s Der
Zusammenbruch des Ottomanisches Reiches, Erinnerungen an die Türkei aus der
Zeit des Weltkrieges, Wien: Amalthea Verlag, 1928 but the half-tone is not
nearly as informative as the color one used here.) We acknowledge Princeton’s kind help in this
matter and acknowledge especially the initial intercession on our behalf of
Interlibrary loan specialist Donna Sammis at Stony Brook University and for her
expertise in tracking the volume down so it could be used in the first place.
It is significant that the image of Talaat
that is frequently encountered in print publications and on the Internet was
photographed by the Armenian photographer Phebus. Phebus was run by Boghos Tarkulian (he used the name Paul more often than the Armenian
equivalent Boghos since he apparently thought it ‘sounded more European’ than
the Armenian Boghos.) [Endnote 4] The Phebus photograph of Talaat comes from the
Henry Morgenthau Sr. materials at the FDR Presidential Library in Hyde Park,
New York. We thank the Library for
allowing us to scan the photograph some years ago.
Handwriting in pencil on the back (and front left) says that
the photograph derives from the 1914-1915 time frame. We will venture to say here that Talaat looks
more benign here and that partly derives from the ‘airbrushing’ and printing
technique used to soften the visage. Talaat
is wearing an impressive uniform which is embroidered with
gold or silver (or both) wired thread.
The medals can be deciphered and attributed by using Eldhem (2004) as a
reference if one is really interested [see Endnote 5]. It is ironic that this mass murderer of
Armenians was photographed at an Armenian photographic establishment, and wore
a uniform which more than likely was produced by
Armenians. Production of brocades and
elegant garments and uniforms (and even more ordinary military ones) were
usually in the purview of Armenian manufacturers and artisans.
Strange is it not?
When all is said and done, we think that the Krausz version of
Talaat’s face is the more appropriate and forceful given the epigraph from
Armen Garo which we offered at the outset. But we also will maintain, that as Hannah
Arendt noted when she wrote about the trial in Jerusalem of Arch murderer of
Jews and many others Nazi Adolf Eichmann, that Eichmann was really more of a
clown than a monster. Look
deeply into Talaat’s eyes, surely something is there. Does he look like a monster or sociopath or …? We leave it to
you, the reader and viewer to see and conclude what he was all about. Perhaps Arendt’s “banality of evil” fits the
bill? [6]
ENDNOTES
[1] Cited in Karekin Pasdermadjian (1982) “My last interview
with Talaat Pasha.” The Armenian Review vol. 35, No. 2-138, Summer,
pp. 115-127 at p. 117. The original
Armenian cited as published in an article about Armen Garo by Assadoor Kherdian
is on page 130 in the full article in Hairenik
Amsagir, Boston [Hairenik Monthly]
vol. 1, no. 7, May 1923, pp. 124-132. Christopher
Walker in his Armenia, the Survival of a
Nation (1980, Croom Helm, London and Sydney and St. Martin’s Press, New
York, p.362; and in the second edition, 1990 St.Martin’s Press, New York p. 412)
gives a succinct biographical entry on Armen Garo. Walker acknowledges much help from Zaven
Messerlian of Beirut on all the Biographical Notes at the end of his
volume. The entry reads: “Armen Garo
(Garegin Pasdermadjian) (Erzerum 1873- Geneva 1924) Educated Sanasarian
College, Erzerum and Nancy (France).
Joined Dashnak party in 1895.
Participated in seizure of Ottoman Bank, Constantinople, 1896. Returned to Europe to pursue scientific
training [he earned the Doctor of Science degree in Natural Sciences in Geneva
in 1900]. To Transcaucasia; in command of Tiflis
sector in combatting the 1903-5 tsarist measures and Tartar attacks. Returned to Erzerum after Ottoman
constitution of 1908; elected a deputy in the Ottoman Parliament. Quitted
Ottoman Empire on outbreak of war; helped establish Russian – Armenian
volunteer units. Became the Republic of Armenia’s unofficial ambassador in
Washington. A member of the revised delegation at the Paris
peace conference April 1919. Took
part in organizing assassinations of Turkish leaders in 1921-2.”
[2] See “Ambassador Morgenthau’s Story” by Henry Morgenthau,
1918, Doubleday, Page & Company, Garden City, New York in Chapter 25 at p.
339, Talaat Tells Why He “Deports” the Armenians. For the digitized book see https://archive.org/details/ambassadormorge02morggoog
The shameful, well-known supposedly humorous example of chutzpuh (insolence in Yiddish) wherein
a Jewish son murders both his parents and then has the temerity to ask special
leniency on the part of the Court because he is an ‘orphan’ is perhaps the
closest thing to Talaat’s enquiry that we can think of for the moment. See Bedross Der Matossian’s “The Taboo within
the Taboo: the fate of ‘Armenian Capital’ at the end of the Ottoman Empire, European Journal of Turkish Studies
(Online). 2011 http://ejts.revues.org/4411
[3] See “Die Türkei im Weltkrieg. Bildnisse und Skizzen” von
Wilhelm Victor Krausz, 1916. Dem K.Ṻ.K. Hofphotochemigraphischen
Kunstanstalten A. Krampolek Wien, IV. Victorgasse no. 14.
The volume is dedicated to the Imperial War Support Office in Vienna and the
Red Crescent in Constantinople.
[4] See Engin Ȫzendes, “Photography in the Ottoman Empire, 1839-1919.”
Haset Kitabevi, Beyoglu, Istanbul 231 pages. See esp. p. 124 which includes a photograph of a
self-portrait of “Bogos Tarkulyan.”
[5] Eldem, Edhem. “Pride and Privilege. A
history of Ottoman Orders, Medals and Decorations”, Ottoman Bank Archives and
Research Center, Istanbul, 2004, 527 pgs. chiefly
in color. See e.g. pp. 100-101 on the
Dusian family and other Armenians of note are mentioned throughout the volume.
[6] Arendt, Hannah. “Eichmann in Jerusalem: a report on the
banality of evil” (Viking Press, NY, 1963).
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