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By:

Shoumojit Banerjee

27 August 2024 at 9:57:52 am

The Road to Europe’s Apocalypse

Vladimir Dedijer’s long-neglected The Road to Sarajevo remains one of the finest guides to the assassination that changed the course of the twentieth century. Later this month, on July 28th, the world will quietly pass the 112th anniversary of one of history’s defining moments. On that day in 1914, Austria-Hungary declared war on Serbia. Within days, Europe’s elaborate alliance system would lurch into motion. By August, the Continent, which had largely been at peace for nearly a century since...

The Road to Europe’s Apocalypse

Vladimir Dedijer’s long-neglected The Road to Sarajevo remains one of the finest guides to the assassination that changed the course of the twentieth century. Later this month, on July 28th, the world will quietly pass the 112th anniversary of one of history’s defining moments. On that day in 1914, Austria-Hungary declared war on Serbia. Within days, Europe’s elaborate alliance system would lurch into motion. By August, the Continent, which had largely been at peace for nearly a century since Napoleon’s defeat at Waterloo in 1815, was engulfed in the ‘war to end all wars.’ The First World War would claim more than 20 million lives, bring about the downfall of four empires, redraw maps from the Baltic to the Levant, and sow the seeds of Bolshevism, fascism and, lead ultimately to an even deadlier World War within the next two decades. The catastrophe that led to the First World War began with seven young conspirators waiting to assassinate Archduke Franz Ferdinand – the heir presumptive to the Austro-Hungarian throne - on the streets of Sarajevo on June 28, 1914. Few episodes in modern history have generated so vast a literature from so small a stage. By 1939 itself, as Europe stood on the brink of World War Two, nearly 3,000 books and pamphlets had already appeared on Franz Ferdinand’s assassination. Among this formidable library stands one unjustly neglected masterpiece. Yugoslav author-politician Vladimir Dedijer’s Road to Sarajevo, published in 1966. It deserves to stand beside other great ‘origin’ classics of WW1, namely Luigi Albertini’s monumental The Origins of the War of 1914 (1942-43); Barbara Tuchman’s riveting narrative history The Guns of August (1962) and Christopher Clark’s celebrated The Sleepwalkers (2012). If Albertini reconstructed the tangled diplomacy that led to the Great War, Tuchman recreated the drama and Clark the intricacies of the European system, Dedijer illuminated something that few authors could ever possess on the subject -the historical and political psychology of Bosnia and its peculiar political turbulence. Tangled Geopolitics As a Bosnian Serb by birth and a Partisan fighter under Tito during the Second World War, Dedijer, later to become one of the former Yugoslavia’s foremost historians, brought to the origins of the First World War not merely archival diligence but an intimate understanding of the land, its people and the tangled skein of its many ethnic nationalisms. What distinguishes Road to Sarajevo from the shelves groaning with WW1 books is the balance of its historical imagination. Dedijer understood that Sarajevo was simultaneously a provincial Bosnian town and the fault line of European geopolitics. He neither elevates the 19-year-old Gavrilio Princip – the student activist and Franz Ferdinand’s assassin - into a nationalist martyr nor reduces him to a terrorist in search of notoriety. Princip emerges as a product of a peculiar political ecology born from the cauldron of Habsburg rule, South Slav nationalism, youthful idealism and the febrile atmosphere created by the Balkan Wars. Few historians have so convincingly captured the tension between individual agency and the larger historical forces that converged on June 28, 1914. Conspiracy Theories One of the book’s great pleasures lies in its treatment of the extraordinary historiography surrounding the assassination. Dedijer is less interested in peddling yet another grand theory than in forensically dissecting the countless theories that others invented. The result being that The Road to Sarajevo reads like a controlled Umberto Eco novel – a febrile, yet historically grounded thriller populated by diplomats, spies, policemen, Freemasons, revolutionaries and ambitious politicians - each cast in successive generations as the hidden puppeteer pulling the strings on that fateful day in Sarajevo. Almost immediately after the Archduke’s assassination, the hunt for invisible hands began. The American historian Sidney B. Fay, whose landmark The Origins of the World War (1928) overturned the simplistic Versailles thesis that Germany alone bore responsibility for the conflict, accused Serbia of failing to warn Vienna despite prior knowledge of the conspiracy. Bernadotte E. Schmitt’s meticulous two-volume The Coming of the War, 1914 (1930) reconstructed the July Crisis with exemplary scholarship while Pierre Renouvin, himself a decorated veteran of the Great War, subjected the diplomatic record to equally rigorous scrutiny in Les Origines immédiates de la guerre (1925). Dedijer catalogues these competing claims with enviable detachment. Few crimes in modern history have attracted so many imaginary accomplices. Alfred von Wegerer, the German authority on the Sarajevo assassination, writing in 1937, suspected a Bolshevik hand behind the deed. His argument rested largely on testimony extracted from Karl Radek - the brilliant, caustic Polish-born Bolshevik intellectual - during Stalin’s infamous Moscow show trials. Leon Trotsky, who had visited Serbia several times before 1914 and knew some members of the revolutionary circles surrounding Princip, inevitably found himself drawn into the speculation, though he had consistently opposed individual acts of terrorism as a revolutionary method. Others found darker conspirators. Father Anton Puntigam, the Jesuit priest who administered the last rites to Franz Ferdinand, believed that international Freemasonry had engineered the assassination. Count Ottokar Czernin, later Austro-Hungarian Foreign Minister and one of the Archduke’s closest associates, claimed Franz Ferdinand himself had confided that Freemasons intended to murder him. Under Nazi rule, such allegations acquired an unmistakably antisemitic colouring. Hitler’s party paper - Völkischer Beobachter - described Princip as both a Jew and a Freemason - a grotesque fabrication entirely in keeping with the conspiratorial obsessions of the Third Reich. Wickham Steed, the influential British journalist and historian, suggested remarkable negligence on the part of Sarajevo’s security arrangements while others hinted that the Hungarian Prime Minister, Count István Tisza, had maintained secret contacts with Colonel Dragutin Dimitrijević - better known by his nom de guerre ‘Apis’ - the formidable chief of Serbian military intelligence and guiding spirit behind the clandestine Black Hand organisation. Franz Ferdinand’s own family entered the debate. His eldest son, Max Hohenberg, accused the German secret service of complicity. The charge proved inconvenient after Hitler annexed Austria in 1938; Max and his younger brother soon found themselves imprisoned at Dachau. In one of history’s stranger ironies, Hitler himself later blamed British intelligence for the 1914 assassination while justifying his invasion of Yugoslavia in 1941. A.J.P. Taylor, in his delightful review of Dedijer’s book for The New Yorker in 1966, observed that almost everybody eventually found themselves accused. Serbia, Russia, Germany, Britain, Hungary, the Bolsheviks and even American anarchists - all appeared, at one time or another, in the dock for Franz Ferdinand’s assassination. Taylor’s own description of Dedijer remains one of the finest appreciations of the man: “He is a Yugoslav, not a Serb nationalist, and is not committed either to Pasic, the Serbian prime minister, or to Apis, the head of the Black Hand (though he was once dandled on Apis’s knee as a little boy).” Few historians have enjoyed quite such a colourful connection to their subject. Perhaps that explains the book’s extraordinary confidence. Dedijer neither sensationalises nor dismisses these theories. He simply lays them before the reader, examines their evidentiary foundations and wryly allows most of them to collapse under their own improbability. Every generation invents the conspiracy it deserves. Just as the assassination of Julius Caesar generated tales of omens and prophecies, and the murder of John F. Kennedy continues to nourish an endless conspiracy industry, Sarajevo has repeatedly become a screen onto which successive political eras have projected their own anxieties. But the book is perhaps even more vital - and rewarding - beyond the assassination itself. Behind Princip’s pistol stood decades of imperial rivalry, the slow retreat of Ottoman power, the ambitions unleashed by Italian and German unification, and the unresolved ‘Eastern Question’ that had vexed European statesmen since the Congress of Vienna. More signally, Dedijer anticipated a truth that later events would painfully confirm. The collapse of Yugoslavia in the 1990s and the brutality it unleashed demonstrated that the region’s history was a bottled djinn of unresolved grievances. Once uncorked, the questions of identity, sovereignty and historical grievance that animated Princip’s generation resurfaced, in a far more violent form, during the wars in Bosnia and Kosovo. There are books that answer historical questions. There are rarer books that teach readers how history itself is constructed. The Road to Sarajevo belongs firmly in the latter category. More than sixty years after its publication, this rich, humane and intellectually honest work deserves to find a new generation of readers.

The Soul of Bharat on the Big Screen

Mumbai: April 4, 2025, my heart feels heavier than it ever has. The news hit me like a monsoon storm—Manoj Kumar, the towering legend of Bollywood, the man who painted patriotism across our screens, is no more. At 87, he slipped away at Mumbai’s Kokilaben Dhirubhai Ambani Hospital, leaving behind a reel of memories that flicker in my mind like a projector that won’t stop spinning. As a movie fan who grew up with his films, I’m not just mourning an actor—I’m grieving the loss of a piece of my soul, a piece of India itself. They called him "Bharat Kumar," and oh, how he earned that name.


I remember the first time I saw ‘Upkar’ (1967). I was a kid, sprawled on the living room floor, eyes glued to our old TV. Manoj ji played Bharat, the farmer who gave everything—his dreams, his love—for his country’s soil. That song, “Mere Desh Ki Dharti,” wasn’t just a tune; it was a heartbeat, pulsing with pride and sacrifice. I’d hum it walking to school, feeling like I, too, could be that noble, that selfless. He won a National Film Award for that one, and rightly so—it wasn’t acting; it was living.

Then there was ‘Shaheed’ (1965), where he brought Bhagat Singh back to life. I’d sit there, popcorn forgotten, as he roared defiance against the British, his eyes blazing with a fire that could’ve lit up the darkest colonial night. It wasn’t just a film—it was a revolution on celluloid, a call to remember the blood that bought our freedom. Manoj ji didn’t just play the martyr; he became him, and every time I watch it, I feel that lump in my throat, that sting in my eyes. It’s no wonder it snagged three National Awards—his passion was a gift to us all.


Oh, and ‘Purab Aur Paschim’ (1970)—how do I even begin? He directed and starred as Bharat again, this time wrestling with the clash of East and West, showing us the beauty of our roots while the world tried to pull us away. I’d laugh at Saira Banu’s antics, then choke up when Manoj ji stood tall, singing “Hai Preet Jahan Ki Reet Sada.” It was a blockbuster, sure, but it was more—it was a love letter to India, penned in his signature hand-over-face style. That move, mocked by some, was his shield, his quiet strength, and I adored it.

And who could forget ‘Roti Kapda Aur Makaan’ (1974)? He directed and starred as Bharat—again, because who else could?—tackling poverty, injustice, and the gut-wrenching struggle for the basics of life. I’d watch, fists clenched, as he fought for the everyman, his voice cracking with raw emotion. It wasn’t just a movie; it was a mirror to our society, a cry for change. Seven Filmfare Awards across his career, they say, but this one felt like it carried them all—his heart bled through every frame.


Then there’s ‘Kranti’ (1981), the epic that had me on the edge of my seat. Manoj ji as the freedom fighter, leading Dilip Kumar and Hema Malini through a storm of rebellion—it was grand, it was gritty, it was everything Bollywood could be. “Zindagi Ki Na Toote Ladi” still echoes in my ears, a reminder of the battles he fought on screen, battles that felt so real I’d dream of joining the fight. He didn’t just direct that film; he sculpted a monument to resilience, and I’d cheer like a fool every time he outsmarted the British.


As I sit here, flipping through these memories, I can’t help but feel cheated. Manoj Kumar wasn’t just an actor or director—he was family. Born Harikrishan Goswami in 1937, he carried the Partition’s scars from Abbottabad to Delhi, turning pain into purpose. He gave us over 50 films in a career spanning four decades, snagging the Padma Shri in 1992 and the Dadasaheb Phalke Award in 2015—honors that felt too small for a man who gave India its cinematic soul. His last role in ‘Jai Hind’ (1999) might’ve flopped, but it didn’t dim his light in my eyes.


I’d read how he met Bhagat Singh’s mother before ‘Shaheed’, seeking her blessing—can you imagine the weight of that? Or how PM Lal Bahadur Shastri urged him to make ‘Upkar’ after the 1965 war, handing him “Jai Jawan Jai Kisan” like a sacred torch? That’s who he was—a man who didn’t just entertain but carried a nation’s dreams.


Manoj ji, you weren’t just “Bharat Kumar” to me—you were the uncle who taught me pride, the friend who shared my anger, the poet who sang my hopes. Your films weren’t movies; they were my childhood, my rebellion, my tears. I’ll miss you like I miss the India you dreamed of—flawed, fierce, and forever ours. Rest in peace, sir. Om Shanti.

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