During my teenage years it seemed that every weekend one of the three television channels would show a British made Second World War film of the 1950s.
With predictable regularity Sunday afternoon would bring yet another airing of one, usually permed, from the quintet of ‘The Cruel Sea‘, ‘The Colditz Story‘, ‘The Dambusters‘, ‘Dunkirk‘ and ‘Ice Cold In Alex‘.
Without doubt my younger self would have cried out ‘oh not again,’ when switching on to find Richard Todd leading his squadron on their bouncing bomb raid, Jack Hawkins being drenched on the quarter-deck or John Mills guiding a group of stragglers through Nazi-infested France – although I do recall watching with greater interest the scene in ‘Ice Cold In Alex,’ when Sylvia Syms exposes much beneath her blouse.
But as my interest in cinema increased, along with a growing knowledge of World War Two, I began to see these films in a different light. Reflecting on the ridicule they have received, as much for their repeated showings than criticism of characters or plot, these for the most part are fine pieces of film-making – deserving greater acclaim than the lazy generalisations with which they are often dismissed.
Indeed the magnificent performance of Jack Hawkins in ‘The Cruel Sea‘ is a match for any given by a leading man in the history of British Cinema.
But almost as important as the stories of heroism and sacrifice is the historical context in which these films were made.
The five in question were released between 1950 and 1957, all within twelve years of the war ending. Through to the mid-50s the decade had been difficult for Britain – rationing of some items lasted twice as long as the war and since emerging victorious in 1945, the country had teetered on the verge of bankruptcy.
As its role as a global power continued to diminish, Britain also suffered the double ignominy of Cambridge spies Guy Burgess and Donald Maclean defecting to the Soviet Union – and the humiliation of Suez in 1956.
excited by a 1965 showing of ‘The Colditz Story‘
With so many certainties of the pre-war years now just a memory, it appears a craving developed to be reminded that Britain showed its greatness in standing up to Nazi aggression.
Despite each film having moments of despair, the audience knew that ultimately the British would prevail – something to be proud of, if not celebrate, in the austere post-war years.
Like most film-making trends, however, there would come a reaction. In 1957, the year ‘Dunkirk‘ appeared, ‘Room At The Top‘ went into production. This gritty slice of social realism was made by those who were war-time teenagers and in its wake came a slew of Northern-based, working class films which now can be seen as a foretaste for television programmes such as Coronation Street and Z-Cars.
For the time being it was clear, the war was over – replaced on screen by the struggle of the ordinary man.
NEIL SAMBROOK is the author of MONTY’S DOUBLE – an acclaimed thriller now available as an Amazon Kindle Book.
