Just recently I watched Battle of Britain, a 1969 movie telling the tale of the grim struggle between Germany and Britain in 1940. I had seen this film several times when I was younger, and now, equipped with greater historical knowledge and a more nuanced political appreciation, I was pleasantly surprised at what a relatively sensible and mature account of events it is.
The cast is impressive to say the least, with prominent roles for Laurence Olivier, Michael Caine, Christopher Plummer, Robert Shaw, Trevor Howard, Kenneth More and others. The sets and effects are lavish, but employed tastefully and sparingly, and scenes which in other films might have been excessively showy or grandiose are thankfully not much in evidence here.
Rather than simply deal with the air battle itself, the film seeks to apply some context, and so matters begin with the impending fall of France, and the atmosphere of despondency, retreat and chaos. This is swiftly followed by images of Britain bracing itself for possible invasion. There are some imaginative bits of sequencing which appear to contrast British stoicism with German triumphalism and perhaps over-confidence.
One of the things which I admired about this film is that it celebrated the courage and defiance of Britain in facing up to its plight without being overly sentimental or trite. The "stiff upper lip" is much in evidence, but in an agreeably understated manner. For me the script flirts with the notion that much of this was a case of "putting on a brave face". This theme is continued with the often fatalistic or sarcastic humour displayed by the RAF pilots, masking their genuine fear.
This movie was justifiably praised for its action sequences, and it is fair to say that they were impressively done. The impact of these sequences was magnified for me by the quality of the film stock. Effective camerawork and judicious use of music also contribute in this regard.
As well as the flying excerpts, the parts where British airfields are attacked are also very powerful, and occasionally graphic, as in the scene where Susannah York's character is faced with a line of the bodies of her subordinates, covered in blankets. A reminder of the human cost, in a type of war which often seemed relatively impersonal.
One of the scenes which I noticed, but which might not have garnered the credit which it deserved, was one at the height of the battle, where RAF and Home Guard personnel appear in the same location. The producers may have seen this as symbolic, and hinting what was at stake if the battle was lost, and invasion became a certainty.
There were signs that some thorough research had been undertaken, with regard to tactics, the disposition of the respective forces, and so on. I found myself cross-referencing nuggets of information in the film with my own knowledge of the events of 1940.
Laurence Olivier delivers what appears to be a fine portrayal of Air Chief Marshal Dowding. Taciturn, matter-of-fact and a realist, not given to hyperbole. Solid as a rock and level-headed when such qualities had never been more essential.
My one criticism of this movie is the decision to have a Hitler speech scene, and also some scenes featuring Hermann Goering. These bits were quite superfluous, and my opinion is that they should have confined the dialogue and characterisations to the men and women at the sharp end, as it were.
Interestingly, there is no real attempt at a stirring climax. There is some symbolism, with empty seats at a dinner for German airmen, and moves in France to suspend invasion plans. The British looked and sounded more philosophical than elated or euphoric. At the end, Olivier looks out from his headquarters at the English countryside, and this subtle and gentle, but incisive imagery is in keeping with much of this film's tone.
Overall, I thought this was a credible, well-judged and balanced telling of the tale, possibly a definitive "mainstream" cinematic take.
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