A Diary for Timothy

In the history of cinema, the history of documentary is very interesting and when talking about the subject and the United Kingdom, people cannot leave two names alone; Basil Wright and Humphrey Jennings. Basil Wright directed The Song of Ceylon, which was a shocking description of UK's colonial possessions. Then Humphrey Jennings made many propaganda films during the WWII, the most well known of them are Words for Battle (1941), which was a poetic picture of England, read by Laurience Olivier. Listen to Britain (1942), which used sound as narrative it didn't use commentary tracks at all when describing one day in London, and many see it as one of the finest documentaries ever made. Then last but not least A Diary for Timothy (1945), which is a very evocative pacifistic propaganda film.

The production of Humphrey Jennings is fascinating, he never followed the same scheme. For instance in Words for Battle (1941) a famous actor read the poetic commentary for the film, in Listen to Britain (1942) he didn't used commentary at all only the sound and music. Then A Diary for Timothy achieves to bring something completely new once again. It's dedicated to a boy called Timothy who was born on 9.3.1944, the fifth anniversary day of WWII. The documentary shows the world around Timothy, what happens in it, in what kind of place young Timothy will grow up. The poetic commentary of the film is like an essay read an actor, an essay tied to emotional situation.

A Diary for Timothy is pure cinematic poetry, only few have reached, and if talking about the history of documentary, only Jean Vigo and Humphrey Jennings. It is an evocative documentary, which calls us to make a change. The film is existentialistic, it highlights the experience of an individual during the time which wasn't the time of existentialism, people believed in communality. But A Diary for Timothy managed to light a new spark of hope in the people.

This is one of the last of the wartime documentaries from Humphrey Jennings.As usual he puts together a number of stories about men from various communities.I think that its aim is to show the resilience of the British people in coming through the war.

A thoughtful record of the bleak final winter of World War II. My mother remembered hearing doodlebugs passing over Norfolk and I have a two year-old nephew currently oblivious of the present crisis; while what is now, as in wartime, known as the air raid siren ("I hope you'll never have to hear that sound, Tim") was ironically still a familiar sound to me as a child twenty years later as the maroon that summoned the fire brigade and lifeboats. So my own life spans the gap between both the events unfolded here and the current dark days we are living through three-quarters of a century later. Young Timothy was born on 1 September 1944, and there are still prominent figures in politics both here and in the United States (including the Democratic challenger in this autumn's elections) who were already born before he was.

(Modern viewers may criticise the lack of black faces, but Churchill remarkably is also absent from the film.)

A fascinating idea from Humphrey Jennings, to take a baby boy as representative of a nation soon to face massive decisions, is scuppered by the misguided choice of E.M. Forster as author of the narration.

Young Timothy proved to be incapable of holding the interest throughout a fairly long film, so other representatives were drafted in: a miner, a farmer, a train driver and a fighter pilot, to create an overwhelmingly masculine vision.

But not heroic. Forster's prose might have made a brilliant essay, but his Bloomsbury condescension and contempt for his fellow Britons, particularly the bourgeoisie and the working class, seems glaring in the democratic medium of film. He seems to regret that these very Britons being celebrated were on the verge of winning the war - consistent with his pessimistic statement in 'Two Cheers for Democracy' that "if fascism wins we are done for, and that we must become fascist to win."

The spectacularly downbeat section where the terrible defeat at Arnhem is juxtaposed with Myra Hess playing Beethoven's Appassionata sums up Forster's attitude. His internationalism may seem far-sighted and principled from a distance, but was this a message that needed to be drummed so unsubtly into his audience (many of whom would have been bereaved in battles such as this) at this particular time? "If I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country", as he famously remarked in 'Two Cheers'. Well, if I was faced with such a difficult choice, I hope I would be less dogmatic about it than E.M.

The narration, contrary to the opinion of most of the other reviews, is terribly ill-judged. Declaimed in a gloomy monotone by Michael Redgrave, the viewer is left with the impression of moral equivalence between the allies and the Nazis. The hope represented by Timothy, that the form of the film forces Forster however reluctantly, to concede, is a slender thing indeed.

'Diary for Timothy' is that most precious thing - a snapshot in time of ordinary people, their hopes and aspirations. It is considered by many to be Jennings's masterpiece.

The film is constructed around the first year of life for a baby, born in the closing stages of the war. There are two radical elements that distinguish this from his previous films. Firstly, the very literate narrative, written by E.M. Forster, no less! Secondly, the characters who appear are allowed to speak for themselves, almost in the form of soliloquy. Here are the voices of Britain, and one is reminded of Chesterton's poem in that they 'have not spoken yet'.

The mood of the film is very subtle. Although not strident, it and the characters in it argues the necessity for a better world and a fairer society (anticipating the Labour landslide).

What is really poignant is the realisation that many of these hopes have not been realised.