The True Glory

The choice of film was excellent with one exception. They devoted one minute to Belsen with no actual mention of the Holocaust. The documentary though was almost ruined by the dreadful ponderous blank verse commentary.

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).

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.

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.

This is one of the best-regarded of the classic wartime documentaries – another Academy Award winner, as it happens – and, in retrospect, among those that has stood the test of time reasonably well. Co-incidentally, its viewing followed that of THEY WON'T FORGET (1937) starring Claude Rains, who is featured here as one of several uncredited narrators! With this in mind, while one understands that such films were made as collective efforts for morale-boosting purposes, it feels odd to realize who may or may not have been involved only while watching it…or even after the fact (I was not aware, for instance, that the script was by Paddy Chayefsky)! Anyway, its enduring qualities over more dated similar efforts has much to do with the film's very structure – not only the various nations involved in the Allied cause taking turns to provide 'first-hand' commentary throughout, but its detailing the progress towards the end of WWII (from D-Day to the fall of Berlin).

It was interesting, to be sure, to watch real footage of a number of famed battlegrounds which would later be fictionalized as star-studded spectacles by the commercial cinema – the Normandy invasion itself in THE LONGEST DAY (1962), the BATTLE OF THE BULGE (1965), the entry into Berlin following the capture of THE BRIDGE AT REMAGEN (1968) and the ill-fated Allied maneuver at Arnhem in A BRIDGE TOO FAR (1977). Other points worth mentioning here are the fact that this was 'presented' by U.S. Supreme Commander General Dwight D. Eisenhower (indeed, it is said that the gold statuette on Oscar night was delivered to him personally!), later the 34th American President, and the early harrowing depiction of the realities behind German concentration camps which, as stated in the film itself, removed from one's mind any notion of the futility for such a conflict.