Tagged: home front drama

Malta Story (UK 1953)

Malta Story screened on Talking Pictures TV a few weeks ago. I don’t remember seeing it before and I found it an intriguing watch for several reasons. The early 1950s fascinates me as a much-derided period of British filmmaking, but also a commercially successful one for some studios and a time when British audiences preferred British stars to Amnericans. The war films of the period have become the most derided by many film scholars and, perhaps not coincidentally they also appear to give comfort to the Brexiteers. Malta Story is a particularly strong example of a film celebrating the bravery and resilience of the Maltese people and the heroics of both the RAF and Royal Navy. It was one of the most popular films at the British box office in 1953. Sue Harper and Vincent Porter (British Cinema of the 1950s) report that the idea for the film came originally from the Central Office of Information under Labour (presumably in the late 1940s) as a propaganda film supporting the three armed services. This version would have been directed by Thorold Dickinson and written by William Fairchild. The project was eventually funded as a production of ‘British Film Makers’ a joint operation between Rank and the National Film Finance Corporation (NFFC). Nigel Balchin developed the script and Brian Desmond Hurst took over as director for a production based at Pinewood with location shots on Malta and access to archive footage of air and sea battles in the Mediterranean. (The Talking Pictures print still announces the film as a ‘Theta Production’ – the company set up by Dickinson and producer Peter De Sarigny.)

Bartlett and Ross as anxious Spitfire pilots

As a child in the 1950s I was aware of the powerful mythology associated with ‘Faith’, ‘Hope’ and ‘Charity’, the three Gloster Gladiator bi-planes which defended Malta in 1940 in the early months of the war. But Malta Story deals with the later period when the island’s strategic importance made it the target for both German and Italian bombers, attempting destroy its defences for an invasion that would then allow the Axis powers to guarantee their own supply route to North Africa. One of the two lead roles in the film was taken by Jack Hawkins as the senior RAF officer, Air Commodore Frank. It is his responsibility to maintain the the airfields and the dwindling numbers of Spitfires for long enough to allow the RN to bring in reinforcements. He faces a Catch-22 situation since his aircraft are vulnerable on the ground or in the air in facing Luftwaffe superiority of numbers. But if he can’t protect the convoys carrying the reinforcements, they may be lost as well. The ‘inciting moment’ of the narrative is the arrival on the island of a reconnaissance flyer en route to Egypt. Frank gets permission to keep the flyer on Malta and to use him to monitor Italian ports and railways for an invasion build-up. The flyer is F/Lt Peter Ross, played by Alec Guinness. Ross has a double function in the narrative. First he provides the mechanism by which Frank can gain intelligence on enemy troop/shipping movements. Second, he can ‘personalise’ the story by falling for one of the young Maltese women, Maria (Muriel Pavlow) working in the RAF ops room. Maria’s family headed by her mother (Flora Robson) will also provide a secondary narrative about a possible spy in the shape of Maria’s brother.

Jack Hawkins (centre) as Air Commodore Frank, flanked by Bartlett (Anthony Steel) and Maria (Muriel Pavlow)

In 1953 Jack Hawkins was at the peak of his popularity with British audiences. 1953 was also the year of his naval Commander in The Cruel Sea and his ex Army officer in The Intruder and the year before he had been in The Planter’s Wife resisting Malayan independence fighters. In 1952 he’d also had a senior RAF post in Angels One Five and the pioneering head teacher in Mandy. It’s difficult to think of another star actor who carried the same sense of authority and gravitas, but who could also be affable and avuncular and, when necessary, ruthless. I think Hawkins has tended to suffer in retrospect from charges of ‘stolidity’ but for me he is the outstanding male actor of 1950s British cinema. There is much more to him than the ‘stiff upper lip’. The top-billed actor on Malta Story is Alec Guinness but I confess I’m not always a Guinness fan. It seems he angled for the part of Ross as ‘something different’ and he does create an interesting character, the almost unworldly Cambridge archaeologist who had done some aerial photography pre-war. His courtship of the beautiful Maria is sometimes uncomfortable to watch because of his awkwardness but this is resolved in the final scenes which I did actually find quite moving, especially in Muriel Pavlow’s performance.

I’m wondering how much of the original script survived the ‘front office pressure’ of Rank’s John Davis and executive producer Earl St John. Balchin was both a celebrated novelist as well as a top scriptwriter of the period. My suspicions are raised by the relatively minor role played by the relationship between Anthony Steel’s Wing Commander Bartlett and Renee Asherson as another of the women working in the Ops Room. Steel is third-billed on the film’s poster and Asherson is billed alongside Muriel Pavlow but neither role seems to contribute much to the narrative development. Steel’s Bartlett should be the representative of the Spitfire pilots on the island (i.e. those defending the base) but because the role isn’t developed, the twin axis of the narrative is the ‘high command’ and Maria’s Maltese family headed by Flora Robson with what I assume is meant to be a ‘Maltese’ accent. Visually the film is dominated by the location shooting amongst the ruins and across the harbour skilfully edited with archive footage. Similarly in 1952/3 there were still wartime aircraft available to complement the archive footage. (Although because of the rapid development of marques during the war, the Spitfires are mainly later models than those of the 1942 Malta siege.) I didn’t particularly notice the use of model work on my TV screening but others suggest it is extensive in the film.

Maria and Peter Ross (Alec Guinness)

It isn’t easy to make a film with real narrative drive about a siege lasting several weeks. There is always the risk that the spectacle of aerial dogfights will overtake the drama faced by civilians on the Home Front and the military personnel on the ground in the harbour and on the airfields. There is also a danger in trying to tell too many stories and the 1969 Battle of Britain film fell into both traps for me. In this respect, Malta Story is strengthened by the drama of Ross trying to find a German convoy on its way to support Rommel at El Alamein. If he can do this, the struggles of everyone on Malta will have been worthwhile because the new British bombers which have eventually got through to the island will then be able to attack the German supply line. The irony is that Ross, the Cambridge archaeologist, should be the man whose single mission becomes so important. Several years later, Guinness played ‘Aircraftman Ross’, the assumed name of T. E. Lawrence in the RAF in a 1960 play by Terence Rattigan. Without the family, Malta Story might have become another 1950s war film showing the British middle classes winning the war through good management and strength of character. Ordinary people and ‘the lower ranks’ were important in the 1940s but in the 1950s establishment values were being re-asserted – or at least that is what several film scholars have suggested. History however, records that the ‘people of Malta’ were awarded a collective George Cross for their resistance in 1942 and this is included in the film. Later still Malta gained independence from the UK in 1964, became a Republic in 1974 and joined the EU in 2004. I wonder what the Brexiteers think of that?

Where Hands Touch (UK 2018)

Leyna (Amandla Stenberg) and Lutz (George MacKay)

Amma Asante has completed three more films since her first, the remarkable A Way of Life, appeared in 2004. That film won prizes as a small independent production but struggled to find an audience outside festivals and a limited UK release. Belle in 2013 brought her to the attention of North American audiences and a distribution deal with 20th Century Fox. A United Kingdom in 2016 continued her move towards international co-production and a bigger budget with two major stars in David Oyelowo and Rosamund Pike. Each of these three films dealt with issues of identity in unusual circumstances and they proved difficult projects to get made despite help from the British Film Institute. The films were not without their critics but they did win prizes and some very enthusiastic audiences. Because Belle was a narrative that dealt with issues arising from the Atlantic slave trade in the 18th century it proved the most attractive to African-American audiences. Amma Asante is a British-Ghanaian filmmaker who has moved from acting to scriptwriting and writing-directing. She has very clear ideas about the kinds of stories she wants to put on screen. She has proved determined to present these stories in the most accessible way she can and each of her films is strong in terms of cinematography, editing and art direction. Equally, she draws strong performances from well-chosen casts. I’ve been impressed by all the films but there are critics who find her stories too conventional and lacking in sophisticated ideas. I don’t accept those criticisms but they have been there and I must admit to my concerns prior to watching Where Hands Touch. I was forced to watch the film on VOD just three weeks after its UK release because I couldn’t find it locally in cinemas. The film was released first in North America in September 2018, seemingly for only 3 days in 103 cinemas. In the UK it opened on only 5 screens and the following week was on only one. The distributor, Spirit Entertainment is mainly known for DVD/Blu-ray and VOD. Could the film be as bad as these indicators of a lack of faith in cinema distribution suggest?

I’m relieved to say that many of the criticisms from North American viewers and some critics are either malicious or just silly. There have also been some very enthusiastic responses, but there is something about the film that perhaps doesn’t work. Nevertheless, given the subject she has tackled, this is another win for a brave filmmaker. The story of how the film came to be made and the historical basis is laid out on Amma Asante’s website. I’ll just include a brief summary here.

Leyna is a ‘Rhineland Bastard’, the daughter of Kerstin (Abbie Cornish)

The Treaty of Versailles in 1919 included the Allied Occupation of the Rhineland which would last until 1930. The French Occupation Forces included 25,000 to 40,000 ‘colonial troops’. A significant proportion of these soldiers were Tirailleurs sénégalais, West Africans from various African territories in the French Empire. Some of these men married local German women, but many babies were born to unmarried mothers and these became known in Germany as the ‘Rhineland Bastards’. Wikipedia quotes the British historian Richard Evans who suggests that these children comprised 500-600 new ‘Black Germans’. Where Hands Touch focuses on a teenage girl who grows up as one of the 500+. An important point to note here is that the children of a married couple automatically took their father’s nationality, but those born ‘out of wedlock’ took their mother’s nationality. When the Nazis came to power and began to implement policies designed to secure the ‘racial purity’ of ‘Aryan Germany’, they at first had more problems with the Rhineland Bastards because they were German citizens. But after 1937 they adopted a policy of forced sterilisation to prevent any further ‘mixed marriages’ (not only involving Black youth but also Gypsies and others deemed ‘non-Aryan’).

Plot outline (no major spoilers)

Leyna Schlegel (Amandla Stenberg) is a bi-racial girl of 15 in 1944 and still living in the Rhineland when her mother hides her to prevent her arrest by agents who would no doubt find ways to force her sterilisation. Leyna and her white little step-brother Koen are then taken to Berlin where they must try to be ‘invisible’. Leyna will eventually find it impossible to stay in a Berlin school and instead will move into factory work with her mother. False papers keep her safe and she starts a relationship with a young man she meets. He’s in the Hitler Youth, just like every Aryan child, including Koen. In late 1944/early 1945 Berlin is a dangerous place and it’s inevitable that Leyna will be arrested at some point. What will happen to her?

Leyna has a “German name but not a German face” according to her teacher

Commentary

In one sense, this is a family melodrama with an emphasis on the drama. It is also a romance, a very dangerous romance. But in many ways the ‘action’ in the narrative is of less importance than the complicated questions and difficulties that surround Leyna’s sense of who she is. What is this identity in Germany in 1945? Leyna maintains that she is German. She has no other Black friends and no role models (her father disappeared some time earlier, when she was an infant). When she visits Lutz (George MacKay) he plays her a Billie Holiday record from his father’s collection and shows her images of female jazz singers. Leyna is thrown by this, she has had no chance to think about her African roots or about an African diaspora in America. Lutz is looking forward to being sent to the Eastern front. He wants to fight and to protect his country. But both Leyna and Lutz will have to deal with the questions of what it means to be German when they find themselves caught up in questions about how Jews are being killed in the camps.

Christopher Eccleston as Heinz, the father of Lutz

I think that the central problem with the film is that Amma Asante started to write a story when she discovered the ‘Rhineland Bastards’ and the more she discovered, the more historical facts and issues she tried to include. There is an interesting analysis of ‘Black Germans in Nazi Germany’ by Professor Eve Rosenhaft on the Amma Asante website and we can see the clever way in which Asante has woven into the narrative all the questions and problems discussed. But in wanting the film to speak to mainstream audiences, Amma Asante has also chosen to develop a romance. A focus on emotional relationships has been Asante’s strategy in each of her films and generally I think it works well, but in this case it feels as if there isn’t enough room for the romance itself as well as all the other issues. It may be because the project has been so long in the making. It should have been Amma Asante’s second film – she felt very driven by a search through what she saw as the neglected history of Black people in other parts of Europe. But she couldn’t raise the finance to make the film until she’d had the successes of Belle and A United Kingdom. I’m wondering now if when she finally got to make it, she tried too hard to explore all sides of the story? The film is already quite long at 122 minutes. It may be that it would have worked better as a TV serial like Generation War (Germany-Poland 2013).

There are two issues here that might explain the less than stellar reception the film has received. I’ve indicated Amma Asante’s ambition and the possible problems of structure and the sheer scale of the narrative. It isn’t the fault of the actors  Amandla Stenberg, fresh from her triumph in The Hate U Give (US 2018) (a film under-appreciated in the UK, I think) is excellent and George Mackay works as well as he can with the script. Unfortunately for UK audiences there is the feeling that he’s been 19-20 for quite a long time now after roles in successful British pictures such as Sunshine on Leith (2013) and Pride (2014) – he was approaching 26 when he played Lutz. I think his efforts to ‘act younger’ make him possibly weaker as a character. The rest of the cast includes heavy-hitters such as Abbie Cornish as Leyna’s mother and Christopher Eccleston as the father of Lutz, an interesting character who fought in the 1914-18 war and who now wants to simply survive the war and protect his son, using his relatively senior position. Between the four central characters Asante does manage to represent a range of attitudes and feelings amongst ‘ordinary Germans’ in a very difficult situation. But this is something that audiences (still) might not be ready to accept. The history of the war and the Holocaust is too often reduced to ‘good’ and ‘bad’ characters and not conflicted characters who aren’t sure how and why they should act. I like the fact that the script makes clear that Lutz risks all for the romance – it is as dangerous for him as for Leyna.

This second issue about audiences and how they might understand, sympathise with or identify with characters is the most difficult challenge of all. There is also the decision to use English dialogue with the central characters mostly speaking without a noticeable accent, while some of the minor characters do. I’d be interested to see the film with a German cast or with a dubbed German soundtrack (as was the case with the recent Trautmann/The Keeper).

I hope my analysis hasn’t put you off wanting to watch this film. It’s an important piece of work and Amma Asante is a director who always produces interesting and valuable films. Finally, I wanted to mention the work of Remi Adefarasin, one of the few Black cinematographers in the UK. It’s good to see him as an industry veteran supporting Amma Asante and presenting Amandla Stenberg so beautifully on screen.

The Demi-Paradise (UK 1943)

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When wearing an Astrakhan hat was meant to signify a good thing

The Demi-Paradise was one of the propaganda films produced during World War II to ensure the ‘imagined community’ of Britain both knew what they were fighting for and that they would win. It’s particularly interesting as part of the film’s project was to emphasise that the Soviet Union was our friend and ally. Laurence Olivier plays a Russian engineer designing a revolutionary (‘geddit?’) propellor being built in England. I say ‘England’ because we are in the ‘jolly hockey sticks’ land of the middle class south; Joyce Grenfell even makes an appearance.

Being British isn’t anything to be proud of at the moment because of our humiliating government and the right-wing isolationism of Brexit. Indeed the tosspots who want us out even state that because we survived the war we can survive being outside the EU. Self harm won’t matter, it seems, as long as Johnny Foreigner keeps his distance. They might do well to watch this film as, even though it’s full of middle class paternalism, there is a real sense that ‘we are all in it together’ (a phrase recycled by George Osborne as he proceeded to screw to poor for the benefit of the rich). Felix Aylmer’s patriarch, and owner of the shipyard, rails against income tax, complaining that ’10 shillings in the pound’ (50%) should be higher! The Russians are praised of course, in stark contrast into the Russophobe propaganda we are fed these days (no I do not like Putin).

Another striking moment is when the workers insist they’ll deliver what’s required. The first to speak out is on old woman who’s later seen soldering. A bloke follows stating that ‘where women go we won’t be far behind’. That would be a pretty amazing statement of female empowerment even nowadays.

The film was produced and scripted by Anatole de Grunwald whose parents had fled the Soviet Union and he very effectively brings an outsider’s view on some of the absurdities of upper middle class life; most particularly the pageants that seemed to have been popular at the time. I’m not sure if it is a British trait that we can laugh at ourselves, a very healthy aptitude, but de Grunwald seems to think so and his satire is affectionate.

Olivier’s ‘love interest’ is played by Penelope Dudley-Ward, daughter of a socialite and so is well cast in the depths of the plummy accents that surround her. Despite my antipathy she is engaging in the role; she retired from acting after marrying director Carol Reed. There are several character actors, that run through British cinema like writing in rock, dotted about the movie including George Cole, John Laurie, Margaret Rutherford and Wilfred Hyde-White (who even manages his trademark sardonic smirk in the role of a waiter with 10 seconds of screen time).

The Demi-Paradise is nowhere near being a great film; it is a competent one. However, as a taste of fraternity between nations who are only enemies because it suits the establishments of both nations to be so, it is well worth seeing. The title’s a quote form Richard II (Shakespeare) by the way.

LIFF#12: During One Night (UK 1961)

David (Don Borisenko) and Jean (Susan Hampshire)

The retrospective programme in Leeds this year focused on time-restricted narratives – ‘Time Frames’. Among some interesting East European films from the 1960s and early 1970s was this odd little film by Canadian director Sidney J. Furie. After a couple of directing jobs in Canadian film and TV, Furie had arrived in the UK hoping for bigger and better films. But first he wrote and directed this 85 minute B+W drama which received an ‘X’ Certificate from the British Board of Film Censorship. It was made at Walton Studio in Surrey for Gala films, the company belonging to Kenneth Rive, best known for bringing foreign language films into the UK. My assumption is that it was intended as a ‘programme filler’ for Rive’s European films, many of which were X-rated, as well as some of the adult dramas finally beginning to appear from British studios. The BBFC website suggests that the film was cut to receive an ‘X’ which is quite bewildering. The version we saw (on 35mm film) displayed the X Certificate but was definitely cut as there is at least one still available from a scene which wasn’t in our print.

David’s overnight stay in the village prompts the USAAF to send an officer (Sean Sullivan) to look for him

So you might be wondering what this X film is about. The time frame is less than 24 hours, beginning when a USAAF daylight bombing raid is over Europe about to drop its bombs. The co-pilot is hit by German anti-aircraft and David the young Captain pilot steers the bomber back to the UK. He has just one more mission before he can return home and his crew determine to help him lose his virginity (he’s 21) before that last flight. David’s anxiety increases when he learns that though the co-pilot has recovered in hospital, the shrapnel has castrated him. What follows is a psychological drama spread over a night in the local village. At its centre is David’s encounter with Jean, the daughter of the pub landlady.

The lurid British poster focuses on the prostitute procured by David’s crew

Furie appears to have recruited all the young Canadians he could find in London to play the American airmen. Most of them are fine with just the occasional Toronto vowel showing through, but the lead role of the Captain is played by Don Berisenko, a young man who clearly modelled himself on James Dean and here spends much of his time with his uniform cap pulled low over his eyes and with along wild hand gestures and body movements. Fortunately, his main scenes are with Susan Hampshire as Jean, a couple of years older than him but playing younger. She counters his method acting with something much calmer and quieter but more effective. The script plays with the moral code of the period which was severely tested under wartime conditions. Eventually human feeling prevails, though in a sense the narrative resolution is ‘open’ as to what happened to the ‘girl’ and the ‘boy’ afterwards.

A less sensationalist poster

I found the dialogue in the opening scenes on board the aircraft risible but the script improved and if I’d been presented in a cinema with this in 1960 as the ‘B’ picture I would have been quite happy. I’m struggling to work out what would have needed to be cut for an X but then the BBFC’s decisions often baffle me. Researching the film after the screening I discovered that the film has been broadcast several times on Talking Pictures TV, but only in graveyard slots at 01.00 or 02.00 in the morning. If it is listed again I might record it to check out the cuts.