Battle of Britain: 1969 film is half history lesson, half soap opera
It is late spring, 1940.
It's been nine months since Adolf Hitler's invasion of Poland plunged Europe into general war. France and Great Britain, which had hoped to appease Hitler the year before at Munich -- and practically gave away Czechoslovakia to Germany in order to stave off war -- have been forced to fight. After a period of uneasy waiting called "the phony war" by the American press, Hitler's armies have quickly overrun Holland, Belgium, and Luxembourg and thrown the Anglo-French forces back into France in less than six weeks. British forces are forced to leave their heavy equipment on the beaches and evacuate from the port city of Dunkirk. Only the English Channel, units of the Royal Navy and less than 1,000 fighters stand between Hitler's conquering legions and the British Isles. As the new Prime Minister says in a speech before the House of Commons, "What General Weygand calls the Battle of France is over, the Battle of Britain is about to begin."
During a 15-year period (1962-1977), the all-star cast recreation of major World War II battles was an expensive sub-genre of the action-adventure/war film category. Undoubtedly spurred by the success of 20th Century-Fox's 1962 mega hit The Longest Day and ending, ironically, with 1977's well-intentioned but widely ignored A Bridge Too Far, the "big cast, big budget" war epics ranged from excellent (The Longest Day, The Great Escape), decent (Tora! Tora! Tora! and A Bridge Too Far), all the way down to dismal (1966's Battle of the Bulge, 1976's Midway). Not only did the law of diminishing returns apply here (as it did with the countless Star Wars knock-offs that hit the silver screen soon after that film became a cultural force to be reckoned with), but the then-ongoing war in Vietnam soured audiences on any film that was in any way favorable to the military.
Nevertheless, the big-name war epic was embraced by many countries that had participated in World War II, and one of the United Kingdom's biggest contributions was, naturally, 1969's The Battle of Britain, a spectacular if rather uneven mix of historical recreation and fictionalized melodrama that commemorates the decisive defeat of the German air force (Luftwaffe) by the outnumbered fighter pilots of the Royal Air Force in the summer of 1940.
The movie, directed by Guy Hamilton (who later would be briefly connected with the struggles to bring Superman: The Movie to take flight but was better known for directing a James Bond flick or two), has many things in its favor. First, it's fast paced -- considering it covers a five-month period (May to September 1940) -- and has a running time of two hours and 12 minutes. Second, it boasts some of the best aerial photography ever filmed, employing as many airworthy vintage aircraft that producers Harry Saltzman and S. Benjamin Fisz could acquire (mostly Hurricanes, Spitfires, Heinkel 111 bombers and Messerchmitt Bf 109s). Third, it has a stirring and memorable score by Sir William Walton, with its two dueling themes of a Germanic martial march and the soaring victorious RAF fanfare underscoring the beautifully choreographed aerial battles. Fourth, it has a stellar cast of mostly British stars of the 1960s, including Harry Andrews, Michael Caine, Trevor Howard, Curt Jurgens, Laurence Olivier, Christopher Plummer, Ralph Richardson, Robert Shaw, and Susannah York. Finally, Hamilton and his production team shot the film on location in France, Spain, and the British Isles, attempting -- and mostly succeeding -- to get the period details just right.
(The one bit of nitpicking about this film's accuracy has to do with the planes, and I mention it here because avid aviation buffs will feel misled if I leave it out, so here goes:
Because the Luftwaffe aircraft seen in the mostly live-action aerial battles were borrowed from the Spanish Air Force, the Heinkel He-111 bombers and the Bf-109 fighters aren't the exact types flown in 1940. British Rolls-Royce in-line motors replaced their original German-made engines, which means the planes look subtly different from the originals.)
Nevertheless, in trying to give the audience both a history lesson and some human interest drama by delving a bit into the personal lives of the airmen, the screenplay by James Kennaway and Wilfred Greatorex seesaws wildly from war documentary (albeit in color) to soap opera dramatics (namely the conjugal conflicts between Canadian squadron commander Plummer and his WAF wife York). Also, the fact that this sort of war epic doesn't rely on a single "lead" to carry the picture but instead scatters its cast in small vignettes on and off the field of battle (or, in this case, in and out of the cockpits) doesn't give the audience a single hero to identify with or follow throughout the whole movie.
Although some of my fellow reviewers have pointed out that The Battle of Britain's complement of aircraft is limited to five types of live-action aircraft (Hurricanes and Spits for the RAF, He-111s, Bf-109s and two Ju-52 transports for the Luftwaffe), choosing to depict the Ju-87 Stukas with model photography and ignoring the twin-engine Messerchmitt Bf 110 fighter and the Ju-88 medium bomber, I can perhaps live with that, realizing that there might not have been any of those in flyable condition in 1969. Maybe if the film had been shot in the 21st Century with CGI special effects (as in the horrible Michael Bay effort, Pearl Harbor), this "oversight" would have been unforgivable, but considering how vastly different the miniature photography scenes would have looked in contrast to the breathtaking live action aerial footage, it was wise that the producers put their budget where it counted. I -- in contrast to more accuracy-minded folks -- don't penalize the producers for using various variants of aircraft to stand in for their 1940 forbears. Nor do I find fault with the now outdated visual effects; yes, some of the explosions (particularly of crashing planes and the big bombing raid on London at night) look cartoony, but, again, this film was made in 1969, not 2004...or even 1999.
© 2012 Alex Diaz-Granados. All Rights Reserved
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