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FRENCH HISTORY

80 years since daring ‘cockleshell’ raid on Nazi ships in France

France marks next week the 80th anniversary of a daring World War II raid by British Royal Marines, who slipped past German patrols up the Gironde estuary to mine crucial supply ships.

80 years since daring 'cockleshell' raid on Nazi ships in France
Photo by NICOLAS TUCAT / AFP

Dubbed “The Cockleshell Heroes” in a 1950s book and film after their tiny canvas-and-plywood boats, the 10-man infiltration team set off on “Operation Frankton” on December 7, 1942.

Faces blackened against detection, they slipped from a submarine near the entrance to the estuary for a 100-kilometre moonlight paddle trek that would take several nights to complete, resting on the banks by day.

Their mission was to sink ships moored in the port of Bordeaux that had been running arms and raw materials between German and its ally Japan.

That objective complete, the commandos would then have to make their own way another 160 kilometres overland to a meeting with resistance fighters, who would smuggle them into Vichy France.

Historian Robert Lyman dubbed the attack “Operation Suicide” in a 2012 book.

Although young — the men under the command of Major Herbert Hasler were mostly in their early 20s — the unit scored a resounding success, blasting five ships in the early hours of December 12.

But only Hasler himself and his boat mate William Sparks made it home alive four months later, after fleeing on foot, by bicycle and on trains to Gibraltar.

Six members of the team died before even they even reached the target. Two men, George Sheard and David Moffat, drowned off the French coast, with Sheard’s body never found.

Swells capsized the boat of Samuel Wallace and Robert Ewart, who were captured and shot by the Germans — as were John MacKinnon and James Conway, taken after their boat was holed near Bordeaux.

After the attack, French informants gave up Alfred Laver and William Mills to the occupiers as they were trying to make their way home. Their names are on a war memorial in the village of Montlieu-La-Garde.

Around 20 plaques around the region recall the commando raid, says Erik Poisneau, president of the Frankton Souvenir (Frankton Memory) association.

The attack was “a physical and nautical feat” pitting the marines against the natural forces of Europe’s largest estuary, Poisneau says.

Although “the Germans were everywhere”, it had been “unthinkable” for them that the Allies would even attempt such a raid, he adds.

For historian Sebastien Albertelli, the mission had a “psychological, propaganda dimension” for the British. It showed that London could “strike at the heart of the enemy forces” at a time when the tide of the war had yet to clearly turn.

After placing their mines and scuttling their kayaks downstream, the exfiltration became “just as extraordinary as the mission itself,” says Christophe Soulard, author of “Frankton: the Unbelievable Odyssey”.

Navigating with map and compass with a few francs in their pockets, Hasler and Sparks crossed the river Charente. But while some locals welcomed them, others were hostile.

One farmer who put them up, Clodomir Pasqueraud, asked them to have the words “the chicken is tasty” broadcast on the BBC when they return — code to let those who had helped them know they had made it back safely.

In one village, three people including a 16-year-old boy were sent to the concentration camps for helping the British commandos.

“They never came back,” says Monique Babin, an expert on the operation who has become an associate member of Britain’s Special Boat Service Association.

A restaurateur who put them up asked for another poultry-based BBC message — “the two chickens have arrived” — and both were transmitted in April 1943 after Hasler and Sparks were helped to Gibraltar by the “Marie-Claire” resistance network.

Neither man had fired a shot during the whole operation.

Known as “Blondie” for the colour of his bushy moustache, Hasler became a well-known sport sailor, launching and competing in the first solo transatlantic race.

Having joined up to avenge his brother’s death in combat, Sparks became a trolleybus driver after the war, but fell on hard times and had to sell his medals at auction.

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CULTURE

Why is the Mona Lisa so famous (and why is it even in France)?

Being lauded as either the greatest artwork in the world or the most overrated tourist attraction in France, Leonardo da Vinci's Mona Lisa does not struggle to get attention. But why is this small portrait so famous?

Why is the Mona Lisa so famous (and why is it even in France)?

Paris’ Louvre museum has recently announced that the Mona Lisa painting is to get its own room, a move that is at least partly in reaction to increasing complaints about the artwork being overrated, while tourists struggle to see it in the small, crowded space.

There aren’t many paintings that get a room of their own, so just what is it about Mona Lisa (or La Joconde as she is known in France) that attracts so many millions of tourists each year – and should you bother going to see her?

Why is it in France?

Let’s start with why the painting is in France in the first place, since both painter and subject are Italian (although Italy at that time was still a collection of city states which would not be unified into the modern country until 1861). 

In short, Mona Lisa is in France because her creator Leonardo da Vinci travelled with her, and he was in France when he died in 1519. The reason that he was in France is that he spent the last years of his life working on special commissions for king François I. He died at the Château du Clos Lucé in Amboise, in France’s Loire Valley. 

Upon his death Mona Lisa was taken into the French royal collection and various descendants of François I hung her in their palaces until the French Revolution happened in 1793.

After the Revolution, with the exception of a brief stint in Napoleon’s palace, the painting entered the collection of the newly-created Louvre gallery which – in the spirit of revolutionary equality – was opened up to the people so that they too could enjoy great art.

Various requests over the years – some polite, others less so – from Italy to return the painting have been firmly declined by the French state. 

When did it get famous?

In the 18th and 19th centuries Leonardo’s painting was a popular exhibit among museum visitors, but didn’t have any particular fame and wasn’t regarded as any more special than the numerous other artworks exhibited there.

Although some academic interest in the painting’s subject – most commonly thought to be Lisa Gherardini, wife of the Florentine merchant Francesco del Giocondo – stirred in the 19th century, her real fame didn’t arrive until 1911.

This is when the painting was stolen from the Louvre, a crime that became a sensation and a cause celèbre in France, even more so when the painting was finally found in 1913 after the thief had attempted to sell it in Italy.

The fame of the painting and the crime inspired contemporary artists such as Marcel Duchamp who created a playful reproduction of Mona Lisa (complete with beard and moustache) which in turn enhanced the painting’s recognition. The artistic trend continued with everyone from Andy Warhol to the ubiquitous student posters of Mona Lisa smoking a joint.

Former chairman of the French Communist Party Robert Hue views moustachioed Mona Lisa by dadaist painter Marcel Duchamp, lent out by his party for the first time for an exhibition in January 2002. Photo by NICOLAS ASFOURI / AFP

A tour of the painting to the US in 1963 and to Japan in 1974 further enhanced the celebrity status.

21st century

These days it’s perhaps accurate to say that the painting is simply famous because it’s famous. As the best-known piece of art in the world it’s automatically on many tourists’ ‘must see’ list when they come to Paris – and a lot of tourists come to Paris (roughly 44 million per year).

Meanwhile the Louvre is the most-visited museum in the world, attracting roughly 9 million visitors a year.

Although some visitors find the painting itself disappointing (it’s very small, just 77cm by 53cm) the most common complaint is that the room is too crowded – many people report that it’s so jammed with visitors that it’s hard to even see the picture never mind spend time contemplating the artwork.

Should I go and see it?

It really depends on what you like – if your taste in art is firmly in the more modern camp then you probably won’t find that this painting particularly speaks to you. You will, however, find a lot in Paris that is much more to your taste, running from the Musée d’Orsay (mostly art created between 1848 and 1914) to the Pompidou Centre (featuring contemporary and experimental art) and much, much more.

If, however, Renaissance art is your bag then you’ll struggle to find a finer example of it than Mona Lisa, with her beautiful brushwork, detailed and intriguing background and realistic presentation.

If you do decide to visit, then be prepared for the gallery to be crowded – the Louvre now operates on a pre-booking basis but even having a pre-booked ticket won’t save you from the crowds.

If possible try to avoid the summer and school holidays and prioritise weekdays over weekends – the early morning or late evening slots tend to be a little quieter than others, but you’re going to have to be prepared to share her with many other art-lovers.

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