This is a compilation film which offers a distinctive representation of the North-East during World War I. The film’s centre is the Battle of the Somme which provided the key to funding. The première was held in the Sunderland Empire Theatre in July 2016, one hundred years on from the battle. This included live music and [I assume] live commentary. The film marries archive and contemporary film footage with a narration composed of both individual records and media reports.
The film was directed by Esther Johnson, whose work crosses between art and documentary. The film was written by Bob Stanley, a musician, journalist and film-maker. The archive film was researched ait the British Film Institute and the Imperial War Museum and at smaller archives in the North East. The voices of the film are diaries, letters and oral records by a number of individuals during and after the war, living in the North East in or around Sunderland and Newcastle on Tyne. These were read on the soundtrack by Kate Adie. The media reports, from the ‘Sunderland Daily Echo and Shipping Gazette’, are read by Alun Armstrong. These are arranged mainly in chronological order but at certain points the film changes to contemporary footage and voices.
I liked the film and found the interwoven stories fascinating. I was pleased that the film, in both black and white and colour, was in 1.33:1 so that the archive film footage was in its proper ratio. The contemporary footage, filmed digitally, is in the same ratio. The sound commentary by the two readers works well, interweaving official and public comments and reports with the personal and subjective.
The characters whose stories are woven into this chronicle include several woman, a suffragist and a conscientious objector. Thus whilst there is a certain amount of valorisation of the war there are also critical voices.
The editing for much of the film is excellent. There is cross-cutting between the official record and the subjective experience. And at certain points edits provide shock, pathos but also irony.
However there are also weaknesses in the way the film material has been used. Understandably there is little or no film of the ordinary people whose voices provide the narration. For much of the film the makers use ‘generic ‘ footage which fits the voices. Some of this is familiar from other compilations or from screenings of the actual titles; some of it is new and fresh. However, in the later stages there are a number of combined image and sounds which I thought a little anachronistic.
And there are two odd sequences in the centre of the film. Whilst we are watching and hearing the material on The Battle of the Somme there is a cut to several minutes of contemporary colour footage accompanied by a song. I think this is meant as a poetic counter-point but It seemed to me confusing. And shortly before this there was a sequence of shots which were repeated from earlier in the film and which [again] did not fit the narration. It was if a sequence had been transposed incorrectly, which may be to do with a transfer to DCP.
For most of the film the music is appropriate and works well. The performers include the Royal Northern Sinfonia and two musical duos from the North East, Filed Music and Warm Digits. The musical interlude during the Somme is sung by the Cornished Sisters. They all perform very well.
The Webpages for the film list screenings across the country; I saw it at the Hyde Park Picture House. The director was there for a Q&A, but I missed some of this so I am not sure if she discussed the form of the film. On November 11th, the anniversary of the Armistice Day at the end of the war, there is another screening at the Sage in Gateshead with live musical accompaniment. This will likely be the best way of experiencing the art work but it is worth seeing in the DCP version if that is accessible.