Verdadeira Glória

Not your average World War II documentary, 'The True Glory' avoids static interviews or impersonal narration, instead presenting collated archive footage from the final few months of the war, played out against real war veterans verbally relating their experiences. While some of the stock footage shown feels awfully familiar, there are several excellent, unusual shots throughout, most notably one where the camera is positioned at the wheels of the plane and a sequence where passers-by on the street walk up to the camera from all different directions. The nighttime footage is remarkable too. Not all of the verbal recounts resonate with a lot of flag-waving dialogue, however, several lines linger long in the mind ("I'm not squeamish... but I'm human") and the documentary refreshingly includes recounts from an extensive variety of personnel. Sure, most of the interviewees are soldiers, but we also get the perspective of an army hospital nurse, a war reporter and the list goes on. The documentary also curiously mentions the prospect of World War III some time in (then) foreseeable future with a reminder that war really can be a horrible thing. Indeed, while the film sometimes feels like the Allies patting themselves on the back for a successful victory, 'The True Glory' does not shy away from depicting how grueling war is and it deserves some credit for that.

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'.

Obviously, "The True Glory" is propaganda in favor of World War II. Walking away from it, one gets the feeling that this was a war that had to get fought (and when you think about it, it WAS the last war declared by congress - as opposed to the president unilaterally launching it - and we paid for it with high taxes). None other than Dwight Eisenhower* introduces it and reminds the viewer that this is firsthand footage of the war. We get narration from all sorts of people: multiple nationalities, and even multiple races.

But something else caught my eye. Towards the end, we get footage of US troops meeting Soviet troops, and both sides hit it off. Any scholar of WWII knows that the USSR was our ally in that war. Well, a mere two years later, the United States and Soviet Union became enemies. A person seeing this documentary just a few years after its release would've gotten left befuddled at the sight of Ivan and GI Joe happily shaking hands, now that the US considered the USSR the world's #1 threat. But as George Orwell depicted in "Nineteen Eighty-Four", alliances shift depending on which war it is, and memories of previous alliances get erased.

Well, one has to understand that the documentary got released right after the war ended. The footage of Roosevelt, Churchill and Stalin holding their conference looked heroic (most people didn't know that Truman had ditched FDR's plans for a future without war). It's understandable that the documentary won Best Documentary Feature at the Academy Awards in 1946. While the propaganda factor may seem over-the-top, I still recommend the documentary as a look at the mindset in late 1945. To think that there was that brief period when it looked as though there would never be another war, and now a nuclear holocaust looks like a real possibility.

Anyway, you should see it (but also watch "The Atomic Cafe").

*It's probably worth noting that as president, Ike taxed the rich at 90% to pay off the war debt and build the Interstate system, defended Social Security, and worked to ease tensions with the Soviet Union. He could never get elected as a conservative nowadays.

This is probably the earliest example of what you could call a "complete" documentary depicting the end of World War II. Starting with the planning for and then the implementation of the D-Day landings, and using hundreds of different pictorial sources, this takes us on a fairly comprehensive and often quite harrowing journey from the beaches of Normandy to the streets of Berlin. It's introduced by Gen. Eisenhower and he occasionally contributes to the soundtrack, but for the most part this is narrated by the ordinary soldiers, sailors, fliers and civilians whose lives were affected by this huge-scale military and logistical operation. It's that commentary that stands out well here, offering us some poignant observations of their travails over the best part of a year in occupied France, the Low Countries and then finally Germany itself. Some of the comments are stoic and witty but never flippant. Each has a story to tell, an episode to describe, an encounter to recount - and for much of this, it's against an enemy that had most certainly not given up. What's also striking here is the collaborative delivery of it's message. Those under the command of The King, Roosevelt and Stalin as well as those fighting for the freedom of those long-occupied territories speak openly and freely of their inter-reliance and abilities to work hand in glove - regardless of language difficulties, cultural or ideological differences and the archive illustrates that co-operation with a remarkable degree of comprehensiveness. Be warned, however, that those images also depict the ghoulish atrocities of not just the war, but of the liberation too. Of Belsen - and these images are not for the squeamish. They are truly appalling, and described by many who arrived there in 1945 with a degree of disgusted incredulity. Then we move on to scenes of ruin in towns and cities in the Fatherland before witnessing scenes of Göring and other staff officers signing documents and surrendering their weapons in defeat - in an altogether more dignified fashion. It doesn't try to be political or analytical, it tells the story from the perspectives of those folks who fought the battles and won the war and is really worth a watch if you are ever looking for a potted, but potent, encapsulation of the end of the war in Europe.

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.