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Seit Pearl Harbor Bin Ich Nirgends Mehr Zu Hauseâ•Œ Jahrbuch für Internationale Germanistik pen Jahrgang LII – Heft 2 | Peter Lang, Bern | S. 211–236 „Seit Pearl Harbor bin ich nirgends mehr zu Hause“ Die europäischen Filmexilanten und der Krieg im Pazifik (1941–1945) Von Helmut G. Asper, Bielefeld Der Überfall der Japaner auf Pearl Harbor und die darauf folgende Kriegs- erklärung der USA an Japan, Deutschland und Italien waren für die deutsch- sprachigen Exilanten besonders an der Westküste der USA ein tiefer Einschnitt und haben ihr Leben nachhaltig verändert. Wie sehr der emotionale Schock dieses Ereignisses die Emigranten damals getroffen hat, zeigt der Ausruf Vicki © 2020 Baums „Seit Pearl Harbor bin ich nirgends mehr zu Hause.“ in ihren Erinne- rungen,1 die sie erst viel später, kurz vor ihrem Tod 1960 niedergeschrieben hat. Mit dem Kriegseintritt der USA veränderten sich in Hollywood auch fast über Nacht die beruflichen Chancen der exilierten Filmschaffenden, denn jetzt hatten die europäischen Filmemigranten Konjunktur als Autoren, Regisseure und Berater vor allem in den zahlreichen Anti-Nazi-Filmen, in denen die Schau- spieler und Schauspielerinnen meist Nazis spielen mussten, und manchmal auch Widerstandskämpfer darstellen durften. Aber nicht nur das europäische Kriegstheater, auch der Überfall auf Pearl Harbor und der pazifische Kriegs- schauplatz haben Spuren in ihrem Leben und in ihrer Filmarbeit hinterlassen, sogar noch bis in die 1950er Jahre. 1. Zeit: Sunday, December 7, 1941, Ort: US Naval Academy, Annapolis So ist der Höhepunkt in der Filmbiographie A Man Called Peter2 über den presbyterianischen Pastor Peter Marshall,3 der von dem emigrierten Regisseur 1 Vicki Baum: Es war alles ganz anders. Erinnerungen. Frankfurt a. M., Berlin 1962, S. 483. 2 Filmografische Daten zu allen erwähnten Filmen sind online einzusehen im American Film Institute Catalog (https://catalog.afi.com/Catalog/Showcase) und in der Internet Movie Database (https://www.imdb.com/). 3 Der presbyterianische Pastor Peter Marshall (1902–1949) war in Schottland geboren und emigrierte 1937 in die USA. 1946 wurde er zum Kaplan des US-Senats ernannt. Vorlage des Films ist die Biografie von Marshalls Frau Catherine Marshall: A Man Called Peter. The Story of Peter Marshall. New York, London, Toronto 1951. © 2020 Helmut G. Asper - doi http://doi.org/10.3726/JA522_211 - Except where otherwise noted, content can be used under the terms of the Creative Commons Attribution 4.0 International license. For details go to http://creativecommons.org/licenses/by/4.0/ 212 | Helmut G. Asper: „Seit Pearl Harbor bin ich nirgends mehr zu Hause“ Henry Koster (1905–1988)4 1955 gedreht wurde, die Predigt von Peter Marshall vor den Kadetten der US-Marineakademie in Annapolis an jenem friedlichen Sonntagmorgen am 7. Dezember 1941. Der Film hält sich eng an die Biographie Marshalls, der tatsächlich in der Woche vor seiner Predigt „had the peculiar feeling that he was not supposed to preach the sermon he had planned. It seemed that God wanted him to preach a different message.“ berichtete Mar- shalls Sohn Peter: „Dad ended up preaching this sermon […] on death and how those who have a personal relationship with Christ need not fear it but can look forward to eternal life.“5 Seiner Intuition folgend predigte Marshall über einen Vers aus dem Brief des Jakobus: „For what is your life? It is even a vapor, that appeareth for a little time, and then vanisheth away.“6 und sprach zu den Kadetten „who in a few days would receive their commissions and go on active duty“ über „death and immortality“.7 Die Predigt wurde von Koster eindringlich inszeniert und von dem Schauspieler Richard Todd mit großer Intensität gesprochen. Mit knapp zehn Minuten ist sie ungewöhnlich lang für eine Filmsequenz, musste aber dennoch gegenüber dem Original gekürzt werden.8 Auf dem Heimweg gibt Marshall einem beurlaubten Kadetten einen lift, doch als sie im Autoradio die Nachricht hören, dass die Japaner Pearl Harbor bombardiert haben und die allgemeine Mobilmachung für Militär und Marine ausgerufen wird, wendet Marshall das Auto und fährt den Kadetten zu seiner Meldestelle. Die Sequenz erinnert nachdrücklich an den Schock, den die Emigranten genau wie alle Amerikaner an diesem Sonntag, dem 7. Dezember 1941 erlebt hatten, der friedlich und sonnig begonnen hatte: „On the Coast, it was the brightest, loveliest Sunday in ages“ schrieb der emigrierte Journalist und Dreh- buchautor Hans Kafka (1902–1974) am 19. Dezember 1941 in seiner Aufbau- Kolumne Hollywood calling – Hans Kafka Speaking, und er erinnerte an „two other sunny Sundays: the one in September 1939, and that vague childhood 4 Vgl. Helmut G. Asper: „I'm the only Jew, who goes regularly to church.” Die religiösen Filme von Hermann/Henry Koster(litz). In: Deutsch-jüdisches Exil: Das Ende der Assimi- lation? Identitätsprobleme deutscher Juden in der Emigration. Hrsg. von Wolfgang Benz und Marion Neiss. Berlin 1994, S. 115–124. 5 The Wartime Sermons of Dr. Peter Marshall. Hrsg. von Rev. Peter J. Marshall. Dallas, Texas 2005, S. 39. 6 Rendezvous in Samarra. In: Wartime Sermons (wie Anm. 5), S. 41–56, hier S. 41. Der Titel spielt darauf an, dass alle Menschen dem Tod begegnen werden und bezieht sich auf eine persische Legende, die von W. S. Maugham in The Appointment in Samarra 1933 nacherzählt wurde. 7 Marshall: A Man Called Peter (wie Anm. 3), S. 231. 8 Auch der Text wurde verändert, die Filmpredigt ist eine Mischung aus der originalen Pearl Harbor-Predigt Rendezvous in Samarra und Marshalls Predigt Go Down Death, deren Botschaft dieselbe ist und die damals bereits publiziert war in Catherine Marshalls erfolgreicher Biographie, (wie Anm. 3), S. 265–277. Jahrbuch für Internationale Germanistik, Jahrgang LII – Heft 2 (2020) Peter Lang Helmut G. Asper: „Seit Pearl Harbor bin ich nirgends mehr zu Hause“ | 213 remembrance of another one in August 1914.“ 9 Denn für die Emigranten war klar, dass der japanische Überfall Krieg bedeutete, wie sich auch der Dreh- buchautor und Filmeditor Albrecht Joseph in seiner Autobiographie erinnerte: Sonntagsvormittags hörten wir meist das Konzert des New York Philharmonic Orchestra im Radio. Am 7. Dezember 1941 wurde ein Brahms-Klavierkonzert vom Ansager unterbrochen: Die Japaner hatten Pearl Harbor bombardiert. Das war der Krieg, auf den wir lange gewartet hatten.10 2. „You cannot make peace with dictators“: Aufrufe zum Krieg in Exilfilmen vor Pearl Harbor Der Kriegseintritt der USA wurde von den deutschen Emigranten einhellig und uneingeschränkt begrüßt, denn für sie war dieser Schritt schon lange überfällig gewesen. Sie waren davon überzeugt, dass damit die Niederlage Nazi-Deutschlands besiegelt war: „Die Kräfte von Amerika, wenn sie einmal auf dem Marsch sind, werden mit dem Nazi-Alpdruck auf Generationen aufräumen“ schrieb der 1941 nach Hollywood exilierte Regisseur Max Ophüls (1902–1957) an seine nach Argentinien geflüchtete Schwester Friedl.11 Regisseure und Autoren hatten mehrfach in ihren Filmen nicht nur eine eindeutige antifaschistische Position bezogen, sondern auch eine aktive Kriegs- teilnahme der USA gefordert. In dem historischen Film That Hamilton Woman, den der ungarisch-jüdische Filmproduzent und -regisseur Alexander Korda (1893–1956)12 1940 nach einem Drehbuch des aus Österreich emigrierten Autors Walter Reisch (1903–1983)13 inszenierte, ist die Parallele zu Hitlers falschen Versprechungen, die Absage an die Politik des Appeasements und der Aufruf zum Krieg nicht zu überhören, wenn Laurence Olivier als Lord Nelson das englische Kabinett in einer flammenden Rede beschwört, Napoleons Friedens- versprechungen nicht zu trauen: 9 Hans Kafka: Hollywood in Wartime. In: Aufbau Nr. 51, 19. 12. 1941, S. 7. Neu abgedruckt in: Hans Kafka: Hollywood Calling. Die Aufbau-Kolumne zum Film-Exil. Ausgewählt und eingeführt von Roland Jaeger. Hamburg 2002, S. 51. 10 Albrecht Joseph: Ein Tisch bei Romanoff’s. Vom expressionistischen Theater zur Western- serie. Erinnerungen. Mönchengladbach 1991, S. 220. 11 Zit. nach: Helmut G. Asper: Max Ophüls. Eine Biographie mit zahlreichen Dokumenten, Texten und Bildern. Berlin 1998, S. 455. 12 Vgl. Karol Kulik: Alexander Korda. The Man Who Could Work Miracles. London 1990, S. 245ff. 13 Vgl. Rudolf Ulrich: Österreicher in Hollywood. [2. erw. Aufl.] Wien 2004, S. 400–403. Peter Lang Jahrbuch für Internationale Germanistik, Jahrgang LII – Heft 2 (2020) 214 | Helmut G. Asper: „Seit Pearl Harbor bin ich nirgends mehr zu Hause“ Gentlemen, you will never make peace with Napoleon [...] Napoleon cannot be master of the world until he has smashed us up, and believe me, gentlemen, he means to be master of the world! You cannot make peace with dictators. You have to destroy them–-wipe them out!14 Auch der Regisseur Fritz Lang (1890–1976) plädierte schon Anfang 1941 in seinem ersten Anti-Nazi-Film Man Hunt für den Kriegseintritt Amerikas. Am Verhalten des individualistischen englischen Sportjägers Thorndike, der aus sporting talk mit einem nicht-geladenen Gewehr auf Hitler zielt und dabei von der SS entdeckt, verhaftet und gefoltert wird, kritisiert Lang die Appease- ment-Politik, die verantwortlich ist für die Bedrohung der demokratischen Staaten von innen durch eine 5. Kolonne und von außen durch den Krieg, in dem die Demokratien um ihr Überleben kämpfen müssen. In der Schlussse- quenz sind Aufnahmen der Bombardierung Englands zusammengeschnitten mit dem Fallschirmabsprung Thorndikes über Nazi-Deutschland, der nun als britischer Soldat mit geladenem Gewehr Jagd auf Hitler macht: ein eindeutiger Appell an die amerikanische Öffentlichkeit, England
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