Directed by Michael Lindsay-Hogg and written by Ken Hughes, the episode SECRET WAR appears to bring the story slowly to an end game. As more a close-up than a holistic view, the producers and the director occur to wonderfully grasp viewers' interests on characters - dramas of some and glories of others, simply the roles change, just faces change among those who find themselves in this very unique position where they can hold the European history in their hands...
The first scene of the episode sets the tone of the feeling that seems to remain throughout: the feeling that eagles are already sickened and weak. We see Kaiser Wilhelm (Barry Foster) among his counselors and advisers insisting that it is not him who wanted this war and aims at absolute victory for Germany. Soon, however, the story is set back in Russia where the revolutionary ideas seem to go wild among the people and being loudly cried in the Duma, the Russian government. The "holy man" a lunatic who delured the imperial court is already dead. However, there are two obstacles for the revolutionary Bolshevik monster to evolve: one is the tsar still alive and, seemingly, still in power and the other one is the fact that the pioneers of the revolution are not in Russia but in a faraway Switzerland. How to bring them back is a scheme, quite a plan of those whose secret war goes along secret profits and benefits.
Some men seem to lose their power and the tsar no longer appears to represent the simple people, speak on their behalf. Asked to abdicate, in an emotionally unforgettable scene, he does not consent to that proposal saying a very memorable line that seems to resemble the way all Russian rulers have thought: "I am not used to being a sovereign who reigns but does not govern" I would ask a viewer to consider this scene in a more in-depth manner, as Nicholas leaves the train compartment, goes to a window to see his land and the camera makes him more and more distanced from us. Deeper and deeper, he disappears amidst the vast land covered with snow and hardened by frost.
Another brilliant scene is the final moment which, actually, makes this only episode slightly longer. Lenin with all his comrades (among them is John Rhys Davies) arrive in Petrograd and receive a very warm welcome. Mind you the right depiction of people, fanatics who really looked up to these guys. A conclusion might be drawn that anything that brings even an illusion of change might bring about extreme devotion. And, historically, these people really smelled some wind of change due to these people. The episode is also famous for the moment when the news of the revolution comes to Lenin to Switzerland while he is on a boat enjoying his time amidst the wonderful nature.
Brilliant scenes indeed but they are not the only strength of this episode. Above all, it is the psychology of the times, the main idea that lies behind most of the wars. It is embodied in the character of Peter Copley and his idea of Bolsheviks and the revolution which seemingly make the great war end. Ironically, he even presents the Bolsheviks as peacemakers to Kaiser. Indeed, any lie might find its believers as long as it is uttered with enough force and encouragement. It is historically true that the Germans were behind the rise of revolution in Russia. That is, so to say, the title secret war that breaks out amidst the corpses of the great war (1914-1918).
If you skip some other episodes because the series seems to be too long, this one is a must-see, really.
