HHhH

8

For the hundredth time, I returned to Prague. Accompanied by another young woman, the gorgeous Natacha, I went back to the crypt. (She’s French, this one, in spite of her name, and the daughter of Communists, like all of us.) The first day we went, it was closed for a national holiday, but across the road I spotted a bar—I’d never noticed this place before—called the Parachutists. Inside, the walls were covered with photos, documents, paintings, and posters relating to the assassination. At the back, a large painted mural depicted Great Britain, with points indicating the various military bases where the exiled Czech army commandos prepared for their missions. I drank a beer there with Natacha.

The next day, we returned during opening hours and I showed Natacha the crypt. She took several photos at my request. A short film reconstructing the assassination was playing in the foyer. I tried to pinpoint the places where the drama took place in order to go there myself, but it was quite far from the center of town, out in the suburbs. The street names have changed: even now I have trouble situating the exact location of the attack. On my way out of the crypt, I picked up a flyer, written in Czech and English, advertising an exhibition entitled “Assassination.” Beside the title was a photo of Heydrich surrounded by German officers and flanked by his local right-hand man, the Sudeten German Karl Hermann Frank—all of them wearing full uniform and climbing a wood- paneled staircase. A red target had been printed on Heydrich’s face. The exhibition was taking place at the Army Museum, not far from the Florenc metro station, but there was no mention of dates, only the museum’s opening hours. We went there the same day.

At the museum entrance, a little old lady welcomed us with great solicitude: she seemed happy to see some visitors and invited us to take a tour of the building’s various galleries. But I was interested in only one of them. The entrance was decorated by an enormous pasteboard announcing, in the style of a Hollywood horror film, the exhibition on Heydrich. I wondered if it was permanent. It was free, in any case, like the rest of the museum. The little lady, having asked us where we were from, gave us a guidebook in English (she was sorry to be able to offer a choice of only English or German).

The exhibition surpassed all my expectations. Here, there really was everything: as well as photos, letters, posters, and various documents, I saw the parachutists’ guns and personal effects, their dossiers filled out by the British commanders, with notes, appraisals, and reports. I saw Heydrich’s Mercedes, with its blown tire and the hole in the right rear door, and the fatal letter from the lover to his mistress that led to the massacre at Lidice. I saw their passports and their photos, and a great number of other authentic, deeply moving traces of what happened. I took notes feverishly, knowing full well that there were way too many names, dates, details. As I was leaving, I asked the lady if it was possible to buy the guidebook that she’d lent me, in which all the captions and commentaries had been transcribed. Sounding very sorry, she said no. The book was handbound and clearly not intended for general sale. Seeing that I was at a loss, and probably touched by my jabbering attempts to speak Czech, she ended up taking the book from my hands and stuffing it determinedly into Natacha’s handbag. She signaled us not to say a word, and to leave. We parted effusively. It’s true that given the number of visitors to the museum, the guidebook was unlikely to be missed by anyone. But even so, it was really kind. Two days later, an hour before our bus left for Paris, I went back to the museum to give the little lady some chocolates. She was embarrassed and didn’t want to accept them. The guidebook she gave me is so important that without it—and therefore without her—this book probably wouldn’t exist in the form it’s going to take. I regret not having dared ask her name, so that I could have thanked her a bit more ceremoniously.

9

When she was sixteen or seventeen, Natacha took part two years running in a national essay-writing contest about the Resistance, and both times she finished first—a feat that as far as I know has never been matched, before or since. This double victory gave her the opportunity to be a standard-bearer in a commemorative parade and to visit a concentration camp in Alsace. During the bus journey she sat next to an old Resistance fighter who took a liking to her. He lent her some books and documents, but afterward they lost touch. Ten years later, when she told me this story—somewhat guiltily as you’d imagine, seeing that she still had his documents and that she didn’t even know if he was alive—I encouraged her to contact him again. And even though he’d moved to the other end of France, I managed to track him down.

That’s how we came to visit him in his beautiful white house near Perpignan, where he lived with his wife.

Sipping sweet muscat wine, we listened as he told us how he had joined the Resistance, how he’d gone underground, all the things he’d done. In 1943, aged nineteen, he was working at his uncle’s dairy farm. Being of Swiss origin, this uncle spoke such good German that the soldiers who came to get fresh supplies had taken to hanging around in order to chat with someone who spoke their language. First of all, our young Resistance fighter was asked if he could glean any interesting information from the talks between the soldiers and his uncle, about troop movements, for example. Then they put him on parachute duty, where he helped to pick up the boxes of materials parachuted down at night from Allied airplanes. When he became old enough to be drafted by the STO— which meant he was under threat of being sent to work in Germany—he went underground, serving in combat units and taking part in the liberation of Burgundy. Actively, it would seem, judging by the number of Germans he claims to have killed.

I was genuinely interested in his story, but I also hoped to learn something that could be useful for my book on Heydrich. What exactly, I had no idea.

I asked him if he’d received any military instruction after going underground. None, he told me. Later, they taught him how to handle a heavy machine gun, and he had a few training sessions: dismantling and reassembling the gun blindfolded, and shooting practice. But when he first arrived, they stuck a machine gun in his hands and that was it. It was a British machine gun, a Sten. A completely unreliable weapon, so he told me: all you had to do was hit the ground with the butt and it went off. A piece of junk. “The Sten was shit, there’s no other way of saying it.”

You might wish to remember this. It turns out to be important.

10

I said before that one of the characters in Chaplin’s Great Dictator was based on Heydrich, but it’s not true. Let’s ignore the fact that in 1940 Heydrich was a shadowy figure, largely unknown to the majority of people—Americans most of all. That is obviously not the problem: Chaplin could have guessed at his existence, and somehow got it exactly right. But while it’s true that the dictator’s henchman in the film is depicted as a snake—whose intelligence contrasts with the ridiculousness of the actor parodying big fat Goring—he is equally a caricature of buffoonery and spinelessness. And in those characteristics we cannot recognize the future Hangman of Prague at all.

On the subject of screen portrayals of Heydrich, I’ve just seen an old film on TV entitled Hitler’s Madman. It’s directed by Douglas Sirk, who was of Czech origin, and it’s an American propaganda film, shot in a single week and released in 1943, just before Fritz Lang’s Hangmen Also Die! The story, which is (like Lang’s) utterly fanciful, places the heart of the Resistance in Lidice, the village of martyrs that would end up like Oradour.[1] The film is about a parachutist flown in from London and the dilemma of the villagers who find him. Are they going to help him or keep away from him—or even betray him? The problem with the film is that it reduces the organization of the attack to a local scheme, based on a series of coincidences (Heydrich happens to be passing through Lidice, which happens to be sheltering a parachutist, who in turn happens to find out what time the Protector’s car will go past). The plot is therefore much weaker than that of Lang’s film, where, with Brecht writing the screenplay, the dramatic power of this one event is used to create a genuine national epic.

On the other hand, the actor who plays Heydrich in the Douglas Sirk film is excellent. For a start, there is a