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| The War Years |
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I took this photograph at Universal Studios in 1937 with a $12 Vest Pocket Kodak camera that I hid in my pocket. Actor’s were not
allowed to take pictures on the set. There were many war movies being made at that time. I had been a Russian Soldier, a British
Airman and a Nazi Officer. For this movie, "The Road Back," sequel to "All Quiet on the Western Front," I was
cast as a double for Slim Summerville. I was twenty, they shaved my head, put me in a German uniform and for weeks, we filmed from
sunset to dawn, in freezing weather. It was my role to run across the uneven ground, on the dimly lit set, not knowing when a
deafening, pre-planted charge would explode either under me or around me! I was terrified most of the time. One powder man, placed
in a small hut, with a machine gun, was killed when the supposedly “safe” explosion went off. They had not counted on concussion.
To me, it was real war.
I became an Anti-War supporter, thanks to the "Road Back."
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 B-25 Mitchel Bomber |
 Doolitle Tokyo Raid |
| When America was drawn into WWII after Pearl Harbor, I still carried the memory of the "Road Back." I was not as eager as many friends, to join up. I didn’t want to kill or be killed. I was 25 years old, soon to be a father. I reasoned that if I enlisted and were killed, it would be my fault, but if I were drafted, it would be the Government’s fault. A third option was to apply for a "war job." I was hired by North American Aviation as an "A" photographer, the highest rank. My salary was 85¢ an hour. For three years I car-pooled from Hollywood to L.A. Airport, 2,540 hours sitting in a car! |
 P-51 Mustang |
 P-51 Mustang |
 “Peter sleeping on P-51, 50mm machine gun rack” |
Me taking a rest-break during my 3-years as an Engineering Photographer at NAA, hoping not to drafted. Well... I was drafted and spent another 13-months mostly in Furtesfeldbruck Germany as a photographer in charge of the base photo lab, earning $60 a month!!
I loved living in Germany but thought of my wife and daughter living there for two more years! Finally, the Enlisting Sergeant told me to go back to Hollywood and “get to work” and I did! |
| Both Richard C. Miller and I became friends while employed by the engineering department at North American Aviation. We chose the nine hour per day, five days a week, working schedule, arriving at 7:30 a.m. This meant we could have two days to enjoy our personal photography. I dug up my top hat, cigarette! Richard created the ballerina scene with a nude model. Recently this photograph was featured in a Getty Museum photo gallery exhibit of Richard’s work. At 97 he was as bright and humorous as always and eager to see me. I, at 93 was in awe of the crowd that had gathered to listen and photographically record the scene. I found it odd that so many comments referred to the work as “way back then” because it seems like yesterday to me. I still haven’t gone digital. |
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Peter posing for Richard C. Miller |
 Pres. Dutch Kindelburger |
 Rosie the Riveter war job, "A" symbolic woman working patriotically three years |
 Capt. Fire Department |
 After photographing in below zero, cold room, making my 85 cents an hour. Brrr ! |
 Peter with Cine Special, WW2 NAA, 1943 |
 Peter at his war job, an "A" rated photographer starting at 85¢ per hour working up to $1.21 per hour three years later. |
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When WWII was over in Europe, I was drafted anyway. The Army Air Corps took me away from the Hollywood scene, faking it as a
Russian, British or Nazi Officer. Now I was a real American Sergeant, carrying a Speed Graphic camera, not a gun, releasing a
shutter, not a bullet.
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 He was drafted: $60 a month. |
 Sergeant Peter in Germany, 1946 |
 Peter acting as British RAF officer, Hollywood |
 sea worthy Peter in Russian costume |
 Peter acted as a German officer |
| I presumed we would be flown to our assigned destination, Germany; after all, I was in the Air Corps. No such luck. It was a crowded, boring, four-day, train ride from Los Angeles to Newport News Virginia. I helped served mess to get some exercise. We boarded the SS. West Point and were five days at sea, landing at Le Harve, France. |
 I thought Air Corps GI's flew across the Atlantic. |
 On quieter moments we could pretend we were on a "cruise." |
 My bunk was the top one, but still below the water line. I learned about claustrophobia. |
 Maury Brown, Peter's friend from basic training, feeds French children at a railway stop. Our means of travel: "40x8" boxcars, (carried 40 men or 8 cows!) I thought Air Corps GI's. would fly. |
 base theater for movies & dancing -- Göring's theater |
 base building |
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When I arrived at Furstenfeldbruch, by way of a crowded boxcar, the sight a base with brick buildings, showing no immediate signs of
bombings, was a pleasant surprise. This had been the headquarters of the German Air Force. The United States occupancy used it as a
hub for arriving and departing American troops. Lucky for me, they were in need of a photographer to manage the photo lab so I was
able to stay. Housing arrangements were, four men to a room with a bathroom and beds, not cots. With a desk, chairs and reading
lamps it was almost like home.
There was a large sophisticated theatre, dedicated to Hermann Göring. Chandeliers could be raised electronically. Curtains, to cover the ceiling-to-floor windows, automatically closed or opened by the press of a button.The chairs were stored to become a ballroom. That function occurred only at Christmas or other holidays. We also saw Hollywood movies, sometimes at a charge of 15¢. |
 Christmas dinner. I got sick. |
 10¢ a pack |
 Frankfurt Germany 1946 |
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| The Germans who were hired to work at the lab were friendly and likeable. The woman with the broom is Bavarian and cleaned the photo lab. GI's talk while two women carry heavy trash cans. German man does repair work on the base. |
 walking to town from the base, winter |
 human truck |
| From the base, on week-ends, we were permitted to go sight-seeing around Furstenfeldbruch or take the train to nearby Bavaria, Garmisch or Munich. These are some of the scenes I saw at that time. |
 Firstenfeldbruch lake spring |
 early morning workers, early spring |
 Alpine Lake |
 Bavaria Germany |
 carrying camera, not a gun |
 Munich bombing |
 Furstenfeldbruck, hardly touched |
| My father had been living in England. I asked for, and was given, a “compassionate leave” in which I had thirty days to go there in December. On that trip, I stopped in Paris and took this photo of the Arc d’triumphe during a snow storm. In London, I had lunch with my father. He talked about the “bit” part he had in “Nicholas Nickleby.” He seemed happy. It was the last time I would see him. He died five years later, still in London. I was able to visit some of my mother’s relatives too, in the quaint countryside villages. |
 Paris Arch de Triumph |
 London |
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I liked Germany so much I wanted to stay when my duty was completed. I figured I ‘d buy a used Army Jeep, re-enlist and have Alice
and three year old Ann come over to join me. But the Enlisting Sergeant advised, “You’re a father. Go home and get down to
business!” So, I did.
I had met a German citizen named Hans Rauschmeyer who owned a photo studio in Furstenfeldbruch and lived with his wife on the second floor. I told Alice about him. We both agreed it would be a great idea to do the same here. It was the G.I. loan that helped us get started on our life’s work. In retrospect, it was good fortune to have been drafted.
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Thirteen years later in 1959, Peter and family read a book called "Europe on $5 Dollars a Day" and decided to put it to the test! Here they are with the Mercedes they bought; notice the 2-typewritters included with the luggage!
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| Click to see the list of movies Peter Gowland was in |
| Some of these pictures will appear in Peter's biography |
Updated: November 15, 2008. All contents copyright ©2005-2008 Peter Gowland.
