The True Glory

This fantastic documentary released by the United States Government and co-directed by the great and smart writer-director Garson Kanin and Michael Powell opens with DDE telling us that we are going to see the events as occurred as told by the men and women who were involved and there. This is no talking heads documentary. It essentially covers the journey from the moment the allies land on Normandy till they take Berlin. All the while, a series of voice-overs obviously scripted details the action as they talk. Be it English, American, Canadian, Czech, Russian, female paramedics, black soldiers we are given the whole she-bang. The voices change as randomly as the scene changes. There is a problem though. The dialog is scripted and can sound corny and a bit rah-rah and flag-waving. Everything is optimistic in this cinematic dairy so to speak. Scenes of allies being killed end with voice-over lines "We lost 3,000 but we moved on" and the editors will jump away to scenes of the army defeating or bombing Berlin. They do not linger or failure or tragedy except when it matters at the concentration when we see the dead bodies and survivors. That said, all sides of the human behavior are covered. We see soldiers who would rather shoot the Germans than capture them. You can feel the anger behind the voices of the soldiers as he chants racist mantras at the POWS. Anger, happiness, futility, fear, and foremost of all optimism is covered and the ending tells us that we can together and be one. The sea of flags ending might seem corny but it was made after the Great War. It has a right to be.

Later documentaries and war films have combined to make this piece seem rather outmoded in manner and naively optimistic in tone whilst its powerful images now alas seem all too familiar. At the time of course it must have packed quite a punch. The editing of newsreel footage shared among others by co-directors Carol Reed and Garson Kanin, is superlative. Some of the front line cameramen of course would not have lived to see the film receive its Oscar as Best Documentary. Splendid score by William Alwyn. Lots of familiar and uncredited voices here and the choice of Leslie Banks to declaim the somewhat purple prose is inspired following his role as Chorus in 'Henry V'. An 'uncredited' name as cinematographer is that of Russ Meyer who went on to film 'action' of an altogether different sort! The less successful aspects of the campaign are glossed over in keeping with its propogandist nature and the massive casualties are seen as the price to be paid for a job well done. History has naturally overtaken the film and it is most unsettling now to see Joseph Stalin, who was handed millions of East Europeans on a plate at the Yalta Conference, being described as one of the 'architects of peace'! The following year another of those architects, Winston Churchill, delivered his 'Iron Curtain' speech. Well-intentioned and technically faultless this is a moving testament to human beings 'in extremis'.

This is a documentary of Victory in Europe starting from before D-day to VE day. The Allied military gathered combat and other military footage to put together their version of the fight from Normandy to Berlin. Eisenhower has a foreword introduction. There are lots of combat footage. Some of them are fairly bloody with dead bodies. They are very compelling and many of the footage have been reused over the years. There are two versions of the ending. One ends simply while the other ends mentioning Japan. I can do without the various people (actors?) doing the narration as a stereotype of each nationality and military unit.

"The True Glory" was a feature-length documentary, jointly produced by the US Office of War Information and the British Ministry of Information, telling the story of the war on the Western Front, from the D-Day invasion of Normandy up to VE Day. The film was directed by Carol Reed and uses newsreel footage of the actual fighting, with commentary by multiple first-person narrators, including participants in the fighting, and an introduction by no less a personage than General Eisenhower himself. It was ad enticed with the slogan, "The story of your victory...told by the guys who won it!"

Although the war in the West may have been over when the film was made, some time in mid-1945, it can still be regarded as wartime propaganda; we are reminded that the war in the Far East was still continuing, and one of the film's messages was clearly "we've beaten Germany, now it's Japan's turn!" Another message can be summed up as "And the Krauts had it coming to them!" The view of Germany presented here is equally propagandistic; the Germans are portrayed not just as cruel and sadistic but also arrogant and full of a self-confidence which was eventually to prove unjustified.

This is very much a film of its time; although the emphasis is on the Western front, the Soviets are still "pursuing gallant allies", and Stalin is even described as one of the "architects of freedom", along with Churchill and Roosevelt. These views would start to look outdated only a few years later, when peace had turned to cold war. Today the film is really of historical interest only. If you want to know the story of the Western Front in the years 1944/5, eighty years of historical research and analysis means that we have today documentaries that are far more detailed, informative and objective and less propagandistic and smugly self-congratulatory. 6/10.

Described by Basil Wright as "a really brilliant example of collaboration of talent on an international level" and bearing the official endorsement of an introduction by General Eisenhower, this blow by blow account of the final year of the war in Europe includes uncredited contributions from both commentator Leslie Banks and combat cameraman Russ Meyer.

Moving at a rare old lick, the frequent dry humour and laconic passion of the words combines with forcefully edited found footage to create an engrossing piece of reportage as fresh as the day it was made (although the actual events depicted probably felt like a lifetime to actually experience compared with the way the film flies past).