The answer is both. Odessa or Organisation der ehemaligen SS−Angehörigen (Organization of Former SS Members) was the code word used by the American Counterintelligence Corps (CIC) to describe an umbrella operation to aid former Nazis in their escape to South America. You’re probably familiar with the fictional Odessa from having read Frederick Forsyth’s 1972 book, The Odessa File, or more likely, having seen the 1974 movie by the same name (starring Jon Voight). Forsyth portrayed Odessa as a secret organization run strictly by and for former Nazi SS men escaping certain retribution by the Allied governments at the end of World War II. Forsyth wrote that Odessa was responsible for the formal escape route out of Europe and into South America where the fanatical former Nazis would try and establish a Fourth Reich. Watch the movie trailer here.

Copy of first edition cover of Forsyth novel, “The ODESSA File.” Photo by anonymous (c. 1972). PD-Low-resolution purpose for discussing book. Wikimedia Commons.

Studio poster for the movie “The Odessa File.” Photo by anonymous (c. 1974). ©Columbia Pictures. Wikimedia Commons.

In reality, the organization of the Nazi and other war criminal’s escape routes entailed a much broader web of networks. As the Argentine author, Uki Goñi, put it, “layered rings” of non-Nazi entities sympathetic to Hitler and the Nazi regime were primarily responsible for the organization, implementation, and execution of moving its human cargo across the Atlantic. It wasn’t the singular, secretive, and Nazi SS-organized group as Forsyth portrayed in his book. Goñi’s exhaustive research (a lot of it due to declassified documents) found these “rings” to consist of four primary groups: the Vatican/Catholic Church, Allied intelligence agencies, Swiss authorities, and secret Argentine organizations supported by Juan Perón and his government. Beneficiaries of these escape routes included not only former SS men but war criminals from France (including Vichyites), Croatia, Slovakia, and Belgium. High ranking members of the Ustaše (Croatian) and Rexist (Belgium) fascist parties successfully used these routes to evade capture and certain death.

This is a story too large for one blog. I can only stimulate your appetite to read more about Odessa and the details of more than 10,000 of the most notorious and brutal Axis war criminals escaping to South America between 1945 and 1950. Read More Odessa: Myth or Truth?

One of the biggest disappointments of our recent trip to Paris was the inability to visit Picasso’s apartment studio where he lived and worked for almost twenty years including the entire four years of the German occupation. There are numerous photos of Picasso in the apartment and I was hoping to be able to present them to you along with contemporary images. Oh well—hopefully the building owners and the French government can work something out to allow visitors to the attic apartment (more on this later).

Despite an exodus of artists and gallery owners prior to the Germans entering Paris on 14 June 1940 and numerous offers to sponsor him in America, Pablo Picasso decided to remain in Paris. To this day, the real reason for why he stayed is unknown and can only be speculated.

There were three primary reasons why Picasso might have considered leaving France and conversely, reasons to be worried about his safety while remaining in Paris. First, the Nazis had declared his work to be “degenerate” art and eventually destroyed many of his paintings. Second, Picasso supported the Republican cause during the Spanish Civil War and as such, was an opponent of fascism and Hitler. Third, Picasso was suspected of being a Communist or at least having Communist sympathies. The one thing he did have in his favor was an international reputation that may have protected him. Learn more here.

Picasso was kept under constant surveillance during the occupation. German officers would visit him in his attic apartment−studio, and “hideout” at 7, rue des Grands Augustins (aka Grenier des Grands Augustins) in the Left Bank’s sixth district. Sometimes the Gestapo visits were to interrogate him. Other visits were by German officers wanting to meet and talk with the world-famous painter.

7, rue des Grands Augustins. Photo by Mbzt (6 January 2012). PD-Creative Commons Attribution 3.0. Wikimedia Commons.

Tag: Drancy

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