Tagged: war combat film

John Ford #6: They Were Expendable (US 1945)

Without its production context this might appear as a fairly conventional war combat picture except for two factors: its celebration of survival masking a defeat is unusual for an American film and its length at 135 minutes is remarkable (and probably not necessary). Digging into that context, however, it becomes something else. John Ford spent the Second World War as head of the US Navy Field Photography Unit and director of several important documentaries for the US Military, two of which won Academy Awards. This film was his final action as a serving military officer in the Naval Reserve and he felt manipulated into making it at the behest of senior figures in the US Navy. The film was produced by MGM, the major studio with which Ford had most problems it seems. As part of the deal to make it, Ford insisted on an enormous fee, not for himself but as something he could use to set up a home for the veterans of his Field Photography Unit. He duly shot the film between February and June 1945 and it premiered at the end of December 1945. I’ve read the accounts in both the Tag Gallagher and Joseph McBride books on Ford and I still don’t understand what the US Navy’s purpose was. There seems to have been a push to get the film made some two years earlier but even that seems odd to me (and impossible for Ford).

From left: Jack Pennick, John Wayne, Robert Montgomery and Ward Bond

They Were Expendable is an adaptation of a book by William L White, a biographical account of a ‘real’ US Navy officer John Bulkeley who commanded a squadron of Motor Torpedo Boats in the Philippines in 1941 (known in the US as PT boats, though the official designation was MTB). The central character, ‘John Brinkley’ in the film, is played by Robert Montgomery, who had himself been an MTB Captain in the ‘Pacific War’, as it is known in the US and had served under Bulkeley. The film script had several contributors but appears to have been mostly the work of the retired Navy flyer Frank Wead, who would become the subject of John Ford’s 1957 film The Wings of Eagles. The film narrative deals with a squadron of MTBs, a relatively under-rated form of naval power in 1941. In December 1941, Brinkley and his men, particularly his second in command, Lt. ‘Rusty’ Ryan (John Wayne) are disappointed that the Naval Commander in the Philippines doesn’t appear to rate the MTBs as an effective weapon, using them for ‘messaging’ and carrying important personnel. But when the Japanese attack cripples the US Navy in Pearl Harbour, the MTBs are thrust into the defence of the Philippines. Although distinguishing themselves in various conflicts the MTBs and their crews are finally forced to retreat to the last US stronghold in Bataan and Brinkley and Ryan are finally forced to abandon their men under orders, thus the ‘Expendable’ tag for the crews. The whole narrative reminds me of several British films from early in the war which were released as propaganda pictures with the message: “We have survived and we will return”. The turning point of the Second World War is usually taken to be the defence of Stalingrad in the East and the victory of the Second Battle of El Alamein in North Africa in late 1942. At the same time the Americans were leading a North African landing and conducting an offensive in Guadalcanal. If They Were Expendable had been in cinemas around the end of 1942 it would have made sense. When it finally appeared, the American public was thinking about the aftermath of war and the film must have had a different reading. Ford himself is reported to have disowned the film, outraged by interference by MGM executives who recut parts of the film and added music Ford wouldn’t have chosen.

Donna Reed with John Wayne. Reed was very popular with US servicemen, voted “The Girl We’d Most Like to Come Home To”

Robert Montgomery with Russel Simpson, a recognisably Fordian character

Lindsay Anderson, who met Ford on location in Ireland for the Quiet Man in 1950 and then at Elstree a couple of years later for Mogambo, was astonished by Ford’s view of They Were Expendable. Ford claimed to be ‘horrified’ by the experience of making the film and claimed to have not even watched the final version. Later he sent Anderson a telegram saying that having been persuaded to watch it, he agreed it might have merit, but several years later had reverted to arguing that it was no good. The mystery in this story is that Ford claimed some of his important scenes were cut but also that his intention was to produce a 100 minute film, which suggests that 40 minutes or more of the final film wasn’t intended to make it into the final cut. This is baffling, but Ford often made contradictory remarks, especially to interviewers. In Ford’s eyes, Anderson hadn’t yet made any significant films so he was just a critic/writer (but Ford still seems to have respected Anderson’s view that Expendable was a fine picture).

The MTBs at sea

What is finally evident in the Warner Bros. restored print on the Blu-ray? There is a standout performance by Robert Montgomery. The black and white photography by Joseph H. August is excellent. August was a Lt Commander in Ford’s Photography Unit and had shot a couple of Ford’s pictures in the 1930s. Wayne is relatively subdued but rather petulant as Rusty Ryan, but he has the film’s only romance, with a nurse (an officer of similar rank) played by Donna Reed, also very good. Two other familiar Ford faces are Ward Bond and Jack Pennick and there is an important cameo by Russel Simpson (Pa Joad and other Ford characters) as a boat repairer. It is a recognisable Ford film in many ways. As a war combat film it is effective with exciting action (but probably unlikely action since US Navy torpedoes were not very reliable in 1941) but also a focus on the relationships between Montgomery and Wayne, Wayne and Reed and most importantly, Montgomery and all his crews. There is a reference to General MacArthur in the sequence in which the MTBs carry departing top brass and MacArthur’s famous phrase “We Shall Return” introduces the closing credits. The film was shot mainly in Florida, which is ironic since Ford himself loved the South Pacific. Several commentators refer to it as having a ‘documentary-style’. I think that is pushing it but there is certainly time spent on procedural issues and it is important that ‘verisimilitude’ is a key issue. Ford had spent so much time in different theatres of war and he knew how service personnel behaved, so the film had a sense of truth about many scenes.

To the Ends of the World (Les confins du monde, France 2018)

The opening and closing shot (with slight differences) with Robert Gaspard Ulliel

This film is part of both My French Film Festival and MUBI’s current streaming roster in the UK. It screened at Cannes in 2018 and I’m surprised that it hasn’t appeared on release in the UK. Perhaps distributors worry about how it would be certificated by the BBFC? It mixes sexual ‘display’, including full frontal male nudity, with the full horror of guerrilla warfare. Worse for some audiences, this is also an art film with long static takes in which little happens. It’s also fascinating with standout performances. In one sense an ‘interior’ story about one man’s struggle to come to terms with grief, the film is also about nine months of chaos in the long history of anti-colonialist struggles in what the French termed ‘Indochina’ before 1954 and what for those of us growing up in the 1960s became the Vietnam War. I had to research the precise period between March and December 1945 to understand exactly what was happening in the region and what might be absent from the narrative.

In June 1940 the swift German advance into France encouraged the Japanese to invade Tonkin – what is now Northern Vietnam – in order to cut off the last supply line for the Chinese from the port of Haiphong into Northern China and thus aid the Japanese campaign in China. The Japanese forces subsequently moved through the whole of Indochina (i.e. modern Laos, Cambodia and Vietnam) in preparation for attacks upon the British, Dutch and American interests in the Pacific. They left the French colonial troops and administrators in charge as Vichy France was, in effect, now a Japanese ally. On March 9th 1945 with France liberated and De Gaulle running a provisional government in Paris, the Japanese staged a surprise attack on French forces in Indochina, an action known as ‘Operation Bright Moon‘. The Japanese were correct in thinking that the Free French, British and Americans were already planning to use Indochina as a base to launch attacks on Japan.

The film narrative begins with a massacre of French forces at a camp in Tonkin. One man, a French soldier Robert Tassen (Gaspard Ulliel), finds himself wounded but still alive beneath a pile of bodies in an open mass grave. Somehow, he escapes into the jungle and is kept alive by local people. Eventually he finds his way to French forces who have not been over-run. We learn that his experience has instilled in him a strong desire for vengeance and that he is now determined to find one of the leaders of the Viet Minh forces who was present at the massacre in which Tassen lost his brother and sister-in-law. This takes a little ‘unpacking’.

The Viet Minh was a political movement led by Ho Chi Minh which from 1941 was opposed to both the French and Japanese and began forms of guerrilla warfare supported by the Americans and by the Chinese (both Nationalists and Communists). During the specific period of the nine moths covered by the film’s narrative this produced some very strange alliances with soldiers switching sides as the political situation became more complicated. The first atomic bomb was dropped on August 6 on Hiroshima and Japan surrendered a few days later. Thousands of Japanese soldiers were still in China and Indochina. By September a British Indian Army force had arrived in Saigon and proceeded to re-arm Japanese soldiers to maintain order. Meanwhile other Japanese were being recruited to train Viet Minh fighters against the French and British. I mention all this to simply illustrate how confusing everything must have been. The other aspect of this that is worth knowing is that the French, like the British, recruited local men to join the colonial army. These were les Tirailleurs tonkinois and Tassen finds himself in a mixed fighting force. Later, he recognises that local fighters will join either side if they are starving.

Robert will eventually ‘go rogue’. It’s impossible not to think of Apocalypse Now when we see Robert leading his own small band of mostly local fighters into the mountains seeking out his own personal enemy. The senior officers in his regiment have now virtually given up on him as he won’t take orders from regulars he doesn’t trust, but he is now a skilled fighter himself and knows how to organise. On the other hand he may be seriously mentally ill.

Tassen meets the writer Saintonge played by Gérard Depardieu

If Apocalypse Now is one reference for audiences, others might be to films like the two versions of The Quiet American. Writer-director Guillaume Nicloux and co-writer Jérôme Beaujour create two other characters who both have an influence on Tassen. One is a mysterious writer, who might have some kind of intelligence role, played by Gérard Depardieu. This character is accepted by the French military and seems to know local culture. The other is that (over?) familiar figure, the beautiful local prostitute Maï (Lang Khê Tran) who speaks French well and who forms a deep but difficult relationship with Robert. While these two individuals are able in different ways to ‘get through’ to Robert, he has little contact with the other French soldiers – only perhaps with Cavagna (Guillaume Gouix) with whom he has a typical love-hate relationship (i.e. they insult each other but clearly have some form of respect). The narrative has no resolution as such but there is a coda of sorts set in early 1946.

Tassen with Cavagna (Guillaume Gouix)

In aesthetic terms, the film is always worth watching and I would love to see it on a big screen, though I might have to turn away from some scenes. It was shot on 35mm by David Ungaro and is projected in a CinemaScope ratio with the colour palette dominated by blues, greens and greys – which in turn contrast with the blood. It rains heavily at times and many scenes are enveloped in mist. Some of the long shots of the soldiers making their way along mountain and forest trails are very beautiful. (The film was shot in Vietnam.) I think the score by Shannon Wright worked well. It seemed both minimalist and filled with foreboding. The performances, especially by Gaspard Ulliel and Guillaume Gouix, are very good. 

Overall there is no political trajectory to the war – as I’ve indicated by the lack of context (only the months of 1945 are signalled). Nor is there any specific critique of French colonialism, apart from what we read into the exchanges. This makes the film an intriguing addition to the various films I’ve watched from Hollywood, Australia and Hong Kong which deal with the later wars of the 1960s and 1970s in Vietnam. There are other French films set in Indochina as a colonial territory including a number of colonial melodramas and other war films that I haven’t seen. The only one I do remember is Hors la loi (France-Algeria 2010) by the French-Algerian director Rachid Bouchareb. In that film one of three Algerian brothers finds himself in the French colonial army fighting the Viet Nimh at Dien Bien Phu in 1954, the battle that signalled the final defeat of France in Indochina. The Algerian soldier hears cries for the ‘colonised’ troops to join the Vietnamese fighting for independence.

We could argue that the French soldiers in Tonkin were virtually forgotten by the authorities in Europe before the Japanese attack. They had had little contact with Vichy for five years and weren’t sure what would await them back in France. This suggestion is well-handled in the script and provides a humanist discourse that balances the comment about atrocities committed by the Viet Nimh. Tassen refers to the beheaded soldiers he finds in the jungle and someone observes that the French have often beheaded people too.

Maï seems like a generic character. What does she actually think?

This film is well worth watching but it’s a shame that the focus on Robert Tassen and his experience means that we learn very little about the colonised people of Indochina. Though the characters are present, their ‘voices’ are not really heard. One of the few things a Viet Nimh prisoner says is that he’d like to be French. But perhaps the lack of understanding shown by the French characters  is the real message of the film?

Here’s the French trailer (no English subs) which gives some idea of the visual qualities of the film:

(The) Next of Kin (UK 1942)

A grim-faced Nova Pilbeam as a Dutch refugee with her boyfriend from the brigade

This is a film that I’ve known about for years but never before managed to see. Now, thanks to Talking Pictures TV and their season of films compiled by the Imperial War Museum, I have – and it is certainly worth seeing. This is propaganda with real bite and I’m sure many audiences might have been quite shocked in 1942. Who knows how many lives it might have saved?

Originally intended as a military training film emphasising the danger of  service personnel speaking carelessly about any aspects of their work, the commission was eventually developed by Ealing Studios (which increased the budget substantially) and an array of well known faces. Ealing’s work paid off and the film was a great success, both as propaganda and as a rather alarming form of entertainment. (But Ealing only covered its costs – the War Office took the profits.) It was a clear step forward from earlier propaganda efforts and morale-building war combat films, both in its production qualities and its approach to finding ways to achieve its objectives.

The startling title card which challenged the audience to think about their actions

The plot involves an attack on a German U-boat base in a small French port which intelligence from a French military agent has discovered is only lightly guarded. An infantry brigade with appropriate training is identified and sent to a training area to practice the skills necessary for a night-time landing and the subsequent demolition of port facilities. A security officer is assigned to the brigade, but German intelligence soon begins to pick up clues that an attack is in preparation. A set of parallel narratives develops in which German spies attempt to discover the target and British intelligence attempts to stop them. In the final section of what is a comparatively long film for the time (102 minutes), the raid goes ahead but the Germans discover enough information through ‘careless talk’ and the ingenuity of German agents to identify ‘Norville’ as the target and to reinforce the local garrison. The final action sequence is very impressive. A well-planned and executed raid succeeds in its prime objective but loses many, many men killed, injured and presumably captured. The film’s title (it seems to exist with and without the ‘The’) is referred to in a voiceover that tells us “Next of kin will be informed”. The final scene sees the comedy pairing of Basil Radford and Naunton Wayne in their familiar roles as bumbling middle-class English ‘chaps’ on a train talking ‘carelessly’ and being overheard by the film’s chief villain played by an unlikely Ealing favourite. As Charles Barr in his Ealing book suggests, instead of defusing the horror of the loss of life in the raid, this properly brings home how dangerous frivolous talk can be.

Familiar Ealing faces, Mervyn Johns and Thora Hird – but should they be talking to each other?

Next of Kin was written by familiar Ealing figures Angus MacPhail and John Dighton alongside contributions from director Thorold Dickinson and Basil Bartlett as military advisor. The key figure here is Dickinson, at the time heading the Army Kinematograph Service Film Unit, who really deserves an entire post to himself. If you want to know more about him I recommend Geoff Brown’s entry on Screenonline. Dickinson is another of the left-wing Oxbridge intellectuals who became interested in film in the late 1920s. Unlike Humphrey Jennings and others he didn’t focus on documentary but engaged in commercial cinema. I was struck by one scene in particular in the early part of the film when the soldiers in question all visit a local theatre to watch an extraordinary ‘classical striptease’ in which a dancer (Phyllis Stanley) gracefully descends a gothic staircase discarding layers of a diaphanous dress. Dickinson, DoP Ernest Palmer and art designer Tom Morahan use shadow and an enormous (and suggestive) silhouette of a static female figure to create a highly expressionist presentation. This looks as if it might have come from a later Michael Powell film with the set much too big to be accommodated on the stage of the theatre. The dancer is just one of the German agents, all depicted as shrewd and skilled, who wheedle information out of the soldiers. At the head of this post is an image of Nova Pilbeam, the fearless young woman from Hitchcock’s Young and Innocent (UK 1937) who is playing a Dutch refugee, forced to spy because the Nazis hold her parents. The dancer is a cocaine addict who is easily manipulated but others are ‘good Nazis’. None are the stiff Prussian types or buffoons of the earlier propaganda films. Although some of these spies are caught, others are successful.

Dickinson went on to make one of the most distinctive British films of the post-war period, Men of Two Worlds (1946), a Technicolor drama shot in East Africa for Two Cities focusing on the dilemmas faced by an educated African caught between the village culture of his people and the world of the coloniser. Like Dickinson’s later film for Ealing, Secret People (1952) about refugees in London in the 1930s and a plot to kill a dictator, Men of Two Worlds fell awkwardly between the ideals of Dickinson and his co-writer Joyce Cary (on both films) and the commercial imperatives of the time. I remember finding both films to be worth seeing. Dickinson finally became the UK’s first Professor of Film at the Slade School in 1967.

But in 1942, Next of Kin worked and it paved the way for an even more hard-fitting propaganda film by another unusual figure at Ealing – Went the Day Well?, directed by Alberto Cavalcanti and released in December 1942. During 1942 there was a raid on the French coast when 5,000 Canadian and 1,000 British troops landed at Dieppe. I don’t know of any claims that this was ‘leaked’ but the Germans were aware, possibly via French agents, that some kind of attack was planned. The raid was in many ways a complete disaster and many of the men, especially the Canadians, were killed, injured or captured. A great deal then seemed to be learned before D-Day in 1944 about how to prepare for a landing – and how to keep the target secret.

A Hill in Korea (UK 1956)

In most respects a conventional ‘war combat’ film featuring a unit attempting to fend off overwhelming enemy forces, A Hill in Korea does have some interesting features. It’s a Wessex Films production and as in the much earlier Once a Jolly Swagman, Ian Dalrymple’s production carries a couple of reminders of his documentary roots. The film begins and ends with a ‘voice of authority’ voiceover explaining that this unit went out on patrol at a certain time and that there were ‘ten national servicemen’ among the 16 men in the unit. The story is set during the retreat of UN forces during the Korean War in late 1950 as the Chinese advance.

British films about the war in Korea are hard to find and the action is largely represented on screen by Hollywood. The British contribution to the UN Command forces was part of a ‘Commonwealth Division’ with Canadian, Australian, New Zealand and Indian personnel. In numerical terms, the Commonwealth forces comprised only a fraction of the total UN forces compared to the dominant American contribution. ‘National Service’ was began in the UK in 1949 and lasted until 1963 with young men required to serve  for two years by the time of Korea. Later British films featured the independence struggles in the British colonies of Malaya, Kenya and Cyprus as well as the débacle of Suez, in each of which national servicemen saw action. In A Hill in Korea, there are various taunts and squabbles between the national servicemen and the ‘regulars’ – the regular soldiers who had voluntarily signed on for three years or more.

The unit finds what appears to be an abandoned village. The two men in the foreground are infantry privates played by Robert Shaw (left) and Percy Herbert

Although there are two prolonged action sequences, two hills to be defended in fact, much of the interest in this relatively short film is now in the casting, which serves as a commentary on how the British film industry was developing. The biggest contemporary name has the smallest part with Michael Caine seemingly having one line in one of his earliest credited appearances. The unit is commanded by George Baker as a young Lieutenant who may actually be a national serviceman – it was possible to be commissioned on entry. Certainly he has never seen combat before, unlike the ‘regulars’ Harry Andrews as the Sergeant and Stanley Baker as the hard-bitten corporal. The rest of the cast are also mainly familiar names, known through theatre and TV as well as film in the 1950s. Victor Maddern and Percy Herbert would become well-known character actors while future Hollywood stars Robert Shaw and Stephen Boyd have a few lines each. Ronald Lewis, an actor who is not well-known now, has a fairly prominent role as a more middle-class serviceman who plays the one member of the unit who breaks down psychologically – and is not supported by his fellow squaddies.

One aspect of the film that grated with me was the use of the term ‘Chinks’ to refer to the Chinese troops. Every character uses this term and the most loquacious refers to ‘yellow men’. The enemy troops are never seen in close-up but only as tiny figures running towards the British positions. I’m assuming this racist terminology was meant to be ‘realistic’ in terms of how soldiers referred to the enemy in 1950 when the film was set. There is a South Korean soldier attached to the unit and he is played by an English actor, Charles Laurence with heavy make-up. I think it must have been a budget issue that meant that this film didn’t attempt to represent Chinese and Korean culture in any ‘authentic’ way. Hollywood, with bigger budgets and more access to Korean  actors and extras does at least give a veneer of authenticity, even if the locations used are in California. According to one review I read, this British film was shot in Portugal with American jet fighters purchased for the Portuguese Air Force. These were possibly Lockheed T-33 training aircraft, a variant of the Shooting Star fighter-bombers used by the Americans in Korea.

Sgt Payne (Harry Andrews, left) and Lt. Butler (George Baker) in the bombed temple

A Hill in Korea was directed by Julian Aymes. He was a TV director who only made two cinema features but worked extensively on ‘TV films’ and series from the early 1950s to the late 1980s. The great director-cinematographer Freddie Francis made his debut as DoP on the film shooting in B&W. IMDb lists the aspect ratio as Academy and certainly that was the ratio used on the print shown on Talking Pictures TV. It’s late to still be using Academy and some of the shots did seem possibly cropped to me. Does anyone have more information? Malcolm Arnold is credited with the music score. The film was released outside the UK (including in the US) as Hell in Korea.

A lot of viewers must come to the film hoping to see the Michael Caine performance, but as I’ve indicated, he has a very small role. Caine himself was one of those national servicemen aged 19 sent out to Korea and it’s worth listening to an extract from his recent radio broadcast of his autobiography about his time as a soldier in Korea. It’s on YouTube as ‘The Korean War and Michael Caine’. It sounds like the real experience wasn’t too different from the film. Searching for images, I discovered that Robert Shaw seems to have been the actor that most attracted the stills photographer on set. A Hill in Korea isn’t an action spectacular but as a gritty drama about a bunch of squaddies fighting against overwhelming odds it’s definitely worth a watch.

LIFF#11: Girls of the Sun (Les filles du soleil, France-Belgium-Georgia 2018)

The Kurdish women fighters led by Bahar (Golshifteh Farahani) at the front

Girls of the Sun was screened at Cannes this year as part of the Official Competition. It was one of only three films directed by women in the main competition in this year of #MeToo. Unfortunately, while the other two women (Alice Rohrwacher and Nadine Labaki) were both genuine contenders for the big prize with Happy as Lazzaro and Capernaum, Eva Husson’s Girls of the Sun was given something of a ‘thumbs down’ by the Cannes critics. I would like to have refuted their putdown, but I have to admit that the film has flaws (not helped by Screen 5 at the Vue suffering sound problems again).

The ‘girls’ of the title are actually women who have joined the Kurdish military in order to fight to liberate their home town which was taken by Daesh. With their husbands and fathers executed, the women and their children were kidnapped and then the young boys were taken to be trained as Daesh fighters. The women, who subsequently escaped, were then recruited for the fight. It’s a harrowing and important story which deserves to be more widely known – see this report on Kurdish women in the Peshmerga. The film was shot in Georgia and the central role is taken by Golshifteh Farahani, the Iranian actor who was so good in About Elly (Iran 2009) but who later left for France and who has subsequently appeared in international films. Farahani plays the role of Bahar, the commander of what the promo material calls a ‘batallion’ of female soldiers. In fact by the time the fighting proper begins this appears to be reduced to more like a small squad of less than ten.

Emmanuelle Bercot (with the eyepatch) as Mathilde

Eva Husson, making only her second cinema feature as writer-director makes a number of important strategic decisions which perhaps seemed a good idea at the time but which I think perhaps didn’t quite work out as she planned. First she decided to present her story as a non-linear narrative with a series of flashbacks woven into the main narrative showing how the women were first kidnapped and how some escaped. At the end of the film we saw possibly the same explosion as at the beginning – which Keith suggested meant that everything was actually a flashback to two different time periods. He may well be correct. I confess at the beginning I was trying to cope with the loud and unfortunately distorting soundtrack comprising rather bombastic music scored by Husson’s regular collaborator, the American musician Morgan Kibby. The second choice was to include the character of a French war correspondent Mathilde played by Emmanuelle Bercot (who I last saw in Mon Roi, 2015). Bercot is a powerful figure (with six directorial credits) and in the film’s opening sequence her character seems to be the protagonist. But in time we realise that Mathilde’s role is mainly to observe/witness the story of the female fighters. Since there is a sub-genre of ‘journalist under fire’ pictures with examples from Hollywood, European and ‘international’ cinemas, I found this a little confusing – as if Eva Husson was not quite sure what to do with her character while the audience is expecting the journalist to become an active agent in the narrative. The journalist’s role seems to be partly as listener when Bahar tells the women’s story. She also enables us to see how dangerous war reporting is during this kind of close fighting.

I don’t want to give the impression that this is a ‘bad film’. Golshifteh Farahani and the other women are convincing fighters and the action scenes are exciting enough. There is a strong sense of this being the story of women literally observed by a woman and that’s fine. I just had the nagging feeling that it wasn’t working as well as it should. It’s perhaps significant that at one point (or was it soon after the film ended?) I was reminded of the Bollywood action epic earlier this year with Salman Khan and Katrina Kaif which imagined a similar scenario with women needing to be rescued from a terrorist stronghold in Iraq. Katrina Kaif’s ‘super spy’ is very impressive in taking out so many black-clad warriors with her choreographed martial arts techniques. This is a very silly film but actually quite entertaining. Girls of the Sun is very serious (rightly so) but a bit clunky by comparison. I remembered later that Agnès Poirier had written an angry piece in the Guardian during the Cannes Festival in which she calls the film exploitative and argues that is not a feminist film since the two lead characters are defined mostly by motherhood rather than by their political activity. She was defending film critics who had called out against the film from the #MeToo activists who blamed poor reviews on male film critics. She has a point but perhaps both sides of the argument need to cool down a bit. Eva Husson’s background suggests an intelligent and talented woman from a family steeped in anti-fascist action. She won’t have attempted to exploit Peshmerga women – but perhaps the script needed a bit more development?

GFF18 #1: The Unknown Soldier (Finland 2017)

One of the perhaps overly beautiful images of the unit in the forest.

Based on an important novel by Väinö Linna published in 1954, this ‘national popular’ film is the most expensive production (at a modest €7 million) in Finnish film history. It is the third film based on the novel to explore the ‘Continuation War’ of 1941-44. Four of the film’s actors were present in Glasgow and told us that the shoot of 81 days was mainly based in the forests of military training areas and that the use of CGI was limited. The UK SFX explosive specialists on the shoot reportedly used more dynamite than on any other production.

The ‘Continuation War’ was the second conflict between Finland and the Soviet Union in swift succession. Finland ceded the Karelian isthmus to the USSR after the Winter War of 1939-40. A year later, the German attack on the USSR persuaded the Finns to ally with them and attempt to retrieve the territory they had lost. At first all went well and the Finns entered Soviet territory beyond Karelia. But as the Nazi advance stalled, the Russian defence against the Finns turned towards the offensive and eventually the Finns were forced to cede Karelia again in late 1944. At the end of The Unknown Soldier, on-screen titles inform us that of all the continental European combatants in the Second World War, Finland was the only one not to be occupied – the USSR did not ask for unconditional surrender, but it did require the Finns to round-up and expel the remaining German forces.

So, did we need a third film on the same topic and what does it tell us about Finish national identity and/or ideas about war combat? I went back to look at the previous Finnish war film discussed on this blog, The Winter War (Finland 1989) and discovered that the same observations might be applicable to both films despite the fact that the wars were not the same and that they are based on different novels. The previous film was also heavily cut for international distribution with the Finnish version running to nearly three hours (the 1989 film was also the ‘most expensive Finnish film production at the time).

The print of The Unknown Soldier in Glasgow was missing nearly an hour from the Finnish version. I’m not sure I would have wanted another hour of action that was sometimes gruelling to watch but I’m guessing that much of what was cut was deemed to be too detailed to have universal appeal. I did feel that the two-hour version came to a fairly abrupt halt when the armistice was signed. I’m sure there must be more to learn about the Home Front and the aftermath of war. How difficult was it, I wonder to expel the Germans?

The film focuses on a specific ‘heavy machine gun’ unit and follows the unit through the whole campaign. The most important characters are a couple of very different young lieutenants and a group of enlisted men. Soon they are joined by a pair of Winter War veterans and in particular Rokka (Eero Aho), a grizzled corporal who is by far the most experienced soldier in the unit. He is from Karelia and has already lost his farm once. He makes clear that he is fighting for his land and his family, not for ‘Finland’ and that he intends “to kill, but not be killed”. He is also oblivious to military discipline. The film is certainly about the soldiers rather than the politicians. The most interesting sequences for me were the short Home Front episodes and the Finnish occupation of the isthmus (Eastern Karelia) where the population is mixed Finnish and Russian. It reminded me of Russian films about the ‘Great Patriotic War’ in which the same region experienced occupation by Soviet, then Nazi and then Soviet again. (See Trial on the Road (1971/85).

Kariluoto and Rokka, played by Johannes Holopainen and Eero Aho. Picture: Juuli Aschan © Elokuvaosakeyhtiö Suomi 2017 (from http://finlandtoday.fi/tuntematon-sotilas-aka-the-unknown-soldier-film-review-a-far-cry-from-the-masterful-novel/)

I’m not sure that this would be described as an ‘anti-war’ film, but given that it is in the ‘National Popular’ mode, the version we saw was not particularly jingoistic. The ‘Russians’ we meet are either sympathetic families in Karelia or captured soldiers. Otherwise they are faceless in the scenes of battle. There is no glory in the battles – though Rokka gets the reward of going home on leave after his effective demolition of the enemy. The Unknown Soldier has been acquired for UK distribution by Arrow Films. I presume the cut version will appear on a UK DVD. In Finland a five-part TV series is planned.

I find films of this kind interesting if only to act as a counterbalance to the common US/UK views of the Second World War. The Unknown Soldier, directed by Aku Louhimies is well worth watching. I should add, however, that there has been plenty of criticism of the film in Finland (see this review). The director is seen to have ‘glamourised’ the soldiers and the excitement of the action (the combat scenes in the forests are beautifully photographed) and to have changed the representation of well-known characters from the novel. So, in the end it does seem to have created a Saving Private Ryan sort of situation – one in which a film is seen in cinemas by a large home audience (20% of all Finns according to the actors) but also criticised for misrepresenting the combat.