Oh! What a Lovely War

This is a superlative film. Though based on the Joan Littlewood stage play (itself derived from a Charles Chilton radio piece), the film has the creativity, visual sense and sardonic wit of Len Deighton throughout. Apparently, it also was Len who had the brainstorm to set the fantasy sections at Brighton, which worked brilliantly! Inexplicably, he asked for his name to be removed from the writing and producing credits. (Later, after swearing off the film industry, he got his revenge with his novel "Close-up.") Whatever "corporate changes" (in the sense of group-think) were made to his script, it still works. And it works extremely well. Not only as an anti-World War I piece, but as a powerful critique of the British class structure and the amoral diplomats and generals who sent millions, nearly a generation, to early graves. I can't think of another film that has so artfully blended satire, farce, tragedy and history. This film is "Dr. Strangelove" caliber, but it's a musical, using the patriotic tunes of the day with the sarcastic alternate lyrics that the troops themselves created.

Kudos go to first-time director (now Lord) Richard Attenborough, and a stellar cast that was essentially the British Pantheon, circa 1969.

I have never seen anything remotely like this, and I doubt if I ever will again. Emotional? If you don't have a few tears by the time they're playing "No, We'll Never Tell Them,"...better check for a pulse.

So many of us in the United States are clueless about the significance of the red poppy which recurs so often in the movie. First of all, it is not an opium poppy. It is a symbol for peace. John McCrae, one of the great poets who were killed in World War I, wrote in the following in his anti-war poem "In Flanders Fields":

In Flanders fields the poppies blow

Between the crosses, row by row,. . .

If yea break faith with us who die

We shall not sleep, though poppies grow

In Flanders fields

Anyway, shortly after WWI, in the early nineteen-twenties, the red poppy became the symbol of remembering and honoring the heroic dead. The day for remembrance became November 11, the date World War One ended. These days, I fear, most people in the United States think of November 11 not as "Remembrance Day" or "Armistice Day" but more as just Veteren's Day. It rarely even falls on November 11, and, when it does, most Americans view it simply as time off work.

As critic Roger Ebert once said, OH! WHAT A LOVELY WAR really isn't a movie at all, but a theatrical tableau. Like many a British muscial review, it contains little plot, much spirited music, and--in this case--the story of World War I. Some portions, as even director Richard Attenborough admitted, go on too long; however, so many other portions are just brilliant. Like other Attenborough movies, one hates to dislike it because its subject matter is so worthwhile and commands respect (will anyone do a remembrance film honoring the fallen dead of the present Iraqui conflict?) I know I gave it an 8, but I must say I don't quite know how to rate a movie like this one. There's nothing else in cinema like it.

I first saw this film when it came out. I was 10 years old, the Viet Nam war was still going on, and it blew me away completely.

I saw it again 5 years later, in a revival house. I went with a high-school friend, happy to be able to introduce its power and brilliance to someone new. It blew her away completely.

That was 27 years ago, and I would give almost anything to know if the film could still move me as much as it did those first two times. It is not available on video, and I've never seen it broadcast on any TV channel.

This is truly one of those films that burned itself into my memory at first viewing. I urge anyone who finds the chance to see it to run, not walk, to the theatre! The Great War -- the War to End All Wars -- has faded deep into the past for most people, and we forget that the death-toll from that conflict blighted an entire generation. This film makes that loss all too vivid, using the music of the war itself.

Truly a classic, in the most literal sense of the word: a film for the ages.

This movie does a good job of catching the spirit of the original play. It points up, in ironic scenes, the class differences in the English Army. It also shows how long and how much tragedy had to occur before the troops turned cynical.

There are a number of memorable scenes and songs that go with them - the scene in the estaminet is incredibly moving. The Church parade, especially the quote from the vicar are noteworthy.

There are many vignettes from the movie which evoke a very strong emotional response. Some scenes do not come off as they were probably intended - a difficulty when trying to use allegory and allusion to make a point.

If you have not seen it - find it and watch it.

If you get a chance to see the play - which I found much more direct in its anti war sentiment - definitely go and see it.

A clever piece of work, this film - Richard Attenborough's first as director and an adaptation of the production by Joan Littlewood's Theatre Workshop - considers the pure futility and waste of World War One by presenting it as a 'war game' based in and around Brighton; on the West Pier, atop a Helter Skelter, etc.

The central characters are the Smith family - several sons and nephews, a grandad, mother, wives and younger children. All have tickets for the game, welcomed in at Douglas Haig's booth (Haig puts his own words to 'I do like to be beside the seaside' = 'I do love to see a man in khaki'). They are the routes by which we follow the various battles and conflicts through the war, punctuated by a soundtrack of popular songs of the period ('It's a Long Way to Tipperary', 'Keep The Home Fires Burning', 'and so on).

Oh! What a Lovely War manages to be daring, funny, and moving, and boasts a starry set of cameos including Olivier, Gielgud, Richardson, Maggie Smith, Dirk Bogarde, Kenneth More, Ian Holm, and Vanessa Redgrave. It covers all of the conflict, from the assassination of the Archduke of Austria, through to the Christmas truce in the trenches, to the war's conclusion. Poppies play their part, as well they might, to indicate the scale of loss of life; and a final tracking shot on the Sussex Downs attempts to give some indication of the wanton destruction of 'cannon fodder' by the powers-that-be.

As a pure war film, this would never work. As a satirical musical, it stands up extremely well, and has many memorable moments to reward the viewer when they see the film again and again. Attenborough himself of course would go on to greater things, culminating in the Oscar-winning Gandhi some 13 years later, but this is an excellent debut, sure of itself and without getting bogged down in cloying sentimentality.