Ah! Dieu que la guerre est jolie

I first saw this movie in the theater in 1969. In my opinion it was by far the most powerful anti-war movie I had ever seen. I came to IMDB looking for a place where I could order a copy so that my children could see it. I can not think of another movie which makes use of the media so effectively. For instance, the party atmosphere of the boardwalk where we see a toy merry-go-round with puppets which blends into a real merry-go-round with real soldiers and real women which blends into real soldiers in a real battle. And the scene where the "upper class" lady is enticing men to join the army morphs into a whore soliciting anybody she can drag onstage. Then the camera moves to the men gathered backstage and the backdrop of the curtains in the theatre becomes the canvas cover of the truck carrying the men to the battlefront. Death is symbolized by poppies. The surrealistic atmosphere allows the characters to pass by poppies, or be handed a poppy rather than being shot or dying from mustard gas. And I particularly liked the scoreboard where the result--regardless of the men lost or the ground lost was always VICTORY! The final scene with the women and children having a picnic in a beautiful field requires the scope of the "big screen." When the child comes running up to his mother and asks, "What did Daddy do in the war?" the answer comes not from the mother but from the camera pulling back very slowly from the picnic. We see a cross and some poppies and then we see more poppies and more crosses until all we can see are the crosses and poppies of Flanders Field and we are no longer able to distinguish the people having the picnic. This is a film for those who enjoy surrealism and satire. It is a must for anyone studying anti-war films. And as an added treat, it has in it practically everybody who was anybody in British theatre at the time it was made.

So many of us in the United States are clueless about the significance of the red poppy which recurs so often in the movie. First of all, it is not an opium poppy. It is a symbol for peace. John McCrae, one of the great poets who were killed in World War I, wrote in the following in his anti-war poem "In Flanders Fields":

In Flanders fields the poppies blow

Between the crosses, row by row,. . .

If yea break faith with us who die

We shall not sleep, though poppies grow

In Flanders fields

Anyway, shortly after WWI, in the early nineteen-twenties, the red poppy became the symbol of remembering and honoring the heroic dead. The day for remembrance became November 11, the date World War One ended. These days, I fear, most people in the United States think of November 11 not as "Remembrance Day" or "Armistice Day" but more as just Veteren's Day. It rarely even falls on November 11, and, when it does, most Americans view it simply as time off work.

As critic Roger Ebert once said, OH! WHAT A LOVELY WAR really isn't a movie at all, but a theatrical tableau. Like many a British muscial review, it contains little plot, much spirited music, and--in this case--the story of World War I. Some portions, as even director Richard Attenborough admitted, go on too long; however, so many other portions are just brilliant. Like other Attenborough movies, one hates to dislike it because its subject matter is so worthwhile and commands respect (will anyone do a remembrance film honoring the fallen dead of the present Iraqui conflict?) I know I gave it an 8, but I must say I don't quite know how to rate a movie like this one. There's nothing else in cinema like it.

Richard Attenborough's directorial debut translates Joan Plowright's theatre concept onto celluloid. "Oh What A Lovely War" tells the story of World War One through the popular songs of the time, some of them sarcastically re-worded by the soldiers at the Front. Made in 1969, the film rides the wave of contemporary 'make love not war' sentiment, and uses humour and avant-garde zaniness to avoid seeming portentous. Brighton Pier represents the First World War, with the British public entering at the turnstiles, and General Haig selling tickets. The Smith family stands for the nation, and the film follows several young Smith men through their experiences in the trenches, most notably Freddy (Malcolm McFee), Harry (Colin Farrell) and George (Maurice Roeves).

The opening sequence, set in a wrought-iron Nowhere, tries to explain the diplomatic chicanery which (allegedly) caused the Great War. This passage is dull, unnatural, garbled and much too long. It does not harmonise with the rest of the story, and the film would have been better without it. Of the cavalcade of ageing English thespians which populates this sequence, only Jack Hawkins as the profoundly melancholic Austrian emperor is at all memorable.

1914 was the season of optimism, shown here by the cheerful seaside scene and the first Battle of Mons, both flooded in pleasant sunshine. When the casulaties start to mount, a shocked theatre audience is rallied by a rousing rendition of "Are We Downhearted? No!", a song which expresses something deep in the English psyche: "While we have Jack upon the sea/And Tommy on the land/We needn't fret".

The government's cynical drive to recruit a volunteer army by 'milking' the simple patriotism of the people is superbly satirised in the 'Roedean' section. Pretty girls onstage sing "We Don't Want To Lose You, But We Think You Ought To Go", and once the young men in the audience are suitably softened up, Maggie Smith lures them into taking the King's Shilling by enticing them sexually.

Class divisions are emphasised. Wounded men from the lower ranks have to wait for treatment, but officers have taxis laid on to take them to hospital. The War forces an aristocrat to converse with one of his retainers, but the conversation is hollow and awkward, as if the men speak different languages. The working-class men in the trenches fraternise with their German 'brothers', and a staff officer in the comfort and safety of England punishes them for their inappropriate behaviour. The pacifist who addresses the workers falls foul of their instinctive patriotism, and doesn't help herself by referring to her audience as "You misguided masses".

The film has many delicious ironic touches. A wounded man arrives back in England, relieved to be out of the hell of war, and is told by a nurse, "Don't worry - we'll soon have you back at the Front". Upper-class war dodgers carry on as before, but they think they are making noble sacrifices - "I'm not using my German wine - not while the War's on". The staff officer who visits the Front is patently unfamiliar with life there, and desperate to get away, but happy enough to have the men live (and die) in these conditions.

By 1915, the optimism has died. The parade of wounded men is a sea of grim, hopeless faces. Black humour has now replaced the enthusiasm of the early days. "There's A Long, Long Trail A-Winding" captures the new mood of despair, and the scene with the tommies filing along in torrential rain is powerfully evocative. Poppies provide the only colour.

We see English soldiers drinking in an estaminet. The chanteuse (Pia Colombo) leads them in a jolly chorus of "The Moon Shines Bright On Charlie Chaplin", a reworking of an American song, then shifts the mood dramatically by singing "Adieu la vie", a truly great tragic song.

The Australian troops have an easy, informal approach to discipline. They make fun of the 'proper' English reserves who are replacing them on the battlefield, and the contrast between the two cultures is depicted by the stiffness of the English drill compared with the sprawling comfort of the Aussies. Naturally enough, the Australians deride the staff officers who arrive to inspect the reserves.

Another passage in the film which simply doesn't work is the religious service in the ruined abbey. Its purpose is to point out the hypocrisy of the great religions, which all came out in favour of the War, but the scene drags horribly and slackens the film's otherwise brisk pace.

1916 passes, and the film's tone darkens appreciably. Now the songs have a wistful quality, laced with the chirpy stoicism of the British soldier - "The Bells Of Hell", "If The Sergeant Steals Your Rum, Never Mind" and "Hanging On The Old Barbed Wire". The trench scenes are terrific, powerfully evoking the squalour of the Front. The wounded are laid out in ranks at the field station, a mockery of the healthy rows of young men who entered the War. Harry Smith's silently-suffering face is one of the film's great images.

The War is drawing to its close, but still the ironies are piling up. The Americans arrive, singing (in travesty of Cohan) "And we won't come back - we'll be buried over there!" Freddy notices with disgust that after three years of this nightmare, he is literally back where he started, fighting at Mons.

As the Armistice is sounding, Freddy is the last one to die. The film closes with a truly stunning aerial view of soldiers' graves, dizzying in their geometry and scale, as the voices of the dead sing, "We'll Never Tell Them". It brought a tear to this reviewer's eye.

A clever piece of work, this film - Richard Attenborough's first as director and an adaptation of the production by Joan Littlewood's Theatre Workshop - considers the pure futility and waste of World War One by presenting it as a 'war game' based in and around Brighton; on the West Pier, atop a Helter Skelter, etc.

The central characters are the Smith family - several sons and nephews, a grandad, mother, wives and younger children. All have tickets for the game, welcomed in at Douglas Haig's booth (Haig puts his own words to 'I do like to be beside the seaside' = 'I do love to see a man in khaki'). They are the routes by which we follow the various battles and conflicts through the war, punctuated by a soundtrack of popular songs of the period ('It's a Long Way to Tipperary', 'Keep The Home Fires Burning', 'and so on).

Oh! What a Lovely War manages to be daring, funny, and moving, and boasts a starry set of cameos including Olivier, Gielgud, Richardson, Maggie Smith, Dirk Bogarde, Kenneth More, Ian Holm, and Vanessa Redgrave. It covers all of the conflict, from the assassination of the Archduke of Austria, through to the Christmas truce in the trenches, to the war's conclusion. Poppies play their part, as well they might, to indicate the scale of loss of life; and a final tracking shot on the Sussex Downs attempts to give some indication of the wanton destruction of 'cannon fodder' by the powers-that-be.

As a pure war film, this would never work. As a satirical musical, it stands up extremely well, and has many memorable moments to reward the viewer when they see the film again and again. Attenborough himself of course would go on to greater things, culminating in the Oscar-winning Gandhi some 13 years later, but this is an excellent debut, sure of itself and without getting bogged down in cloying sentimentality.

It's been thirty-five years since I first saw this movie. I remember it as well as any movie I've seen. I check every few months to see if it is available in any format. So far I haven't found it. It would be good if someone could be influenced to create a DVD version. I'd buy it in a minute. I'd probably buy several copies and give them to special friends. It may be my favorite movie of all time.

Until I saw the movie, I didn't realize that there was some special music that accompanied WWI. It's music that now brings a tear whenever I hear it. The portrayal of pompous generals and their subservient minions, as they are posting the numbers of deaths and casualties for the day, is beautifully done. They were simply putting up numbers. But each number was often a death. A death of a promising young person. This movie makes war appear as brutal as it can really be. The poor always die first. It would be nice if international law demanded that the political and military leaders of a country be required to send their own children into war first. If that were the case, there would likely be no more war.