Hope and Glory

John Boorman is impossible to categorize. From his spaced out ZARDOZ to DELIVERANCE to EXCALIBUR, this wildly ambitious director hasn't met a subject he's afraid to tackle. Here, the film maker delves into his past, delivering the story of a boy growing up in WWII England. Directed in a style that is nostalgic and innocent, HOPE AND GLORY displays a brighter side of human conflict. Watching the picture, it is obvious Boorman approached this highly personal material with the utmost of care. Nonetheless, if you're looking for a heavy drama, this is not the place. Many scenes (if you're not in the mood for them) can become a bit difficult. In other words, you're feeling as if you're watching someone's home movie. However, this should not detract from the talent of a true cinematic master, John Boorman. We love you, John Boy. Give us more!

I've been watching 'Hope and Glory' for almost 20 years now, since its release in 1987 and it is still a total pleasure to view. John Boorman has re-created his memories of experiences during the Blitz and produced what could have been a very cynical, black comedy. But instead of dwelling on the death and destruction he has created a delightful pastiche, almost like a fairy tale, viewed through the eyes of a boy, Bill (Boorman himself), as he adapts and revels in the collapse of all the old and comfortable patterns of his life.

I am no fan of child actors, of the Shirley Temple/Freddie Bartholomew type, but these young British actors are wonderful. Bill is played by Sebastian Rice-Davies, a kid who seems to be possessed by the humor and life experience of a 35 year old. His younger sister, Geraldine Muir, steals her scenes with her cherubic face and rapier tongue. Her commentary on sex is hilarious.

The cast is uniformly excellent, though often over-shadowed by their young colleagues. Ian Bannen once again shines as their grumpy grampa, full of vinegar and oaths. His character is revealed to the fullest extent as he shakes his fist at the power lines encroaching on his idyllic house on the river Thames, hissing out "I curse you, volt, watt and amp!" This is indicative what all has been lost prior even to the bombs falling; the advancement of what is popularly thought to be Progress.

'Hope and Glory' is a salute to a more civilized society that was dealt a death blow during The Great War (WWI) and would be buried forever after WW2, Hitler's bombs just sped up the process of the dissolution of civility and decency.

But there is hope inherent in this film. Humor survives and the links with the past are secure, as embodied in the relationship between Bill and his grandfather, they connect and that connection cannot be broken, leaving me with the thought that perhaps we can return to better days, before MTV, Jerry Springer, Enron, Bill Clinton and a government educational system that demands our conformity to some sort of ephemeral "norm".

'Hope and Glory' is endlessly thought-provoking at the same time making one laugh at the follies of human-beings.

Film-maker John Boorman's (Oscar nominated for writing and directing) semi-autobiographical account of growing up in London during the early-1940s is a wonderful sight to behold as a 9-year-old boy (Sebastian Rice-Edwards) looks at German blitz air-raids as fantastical and interesting occurrences rather than tragic happenings. But the youngster does know enough to realize that the country is in turmoil as his father (David Hayman) is out fighting in World War II, his mother (Sarah Miles) is noticeably distraught and his older sister (Sammi Davis) is having a love affair with a Canadian soldier (Jean-Marc Barr). As all this happens though Rice-Edwards and little sister Geraldine Muir just behave as if nothing was wrong. Their innocence and lack of total understanding allows them to enjoy their youth even though the world around them is in total chaos. Sometimes a lack of understanding can lead to happiness and wonder anyway. Also along for the ride is Hayman's brother (Derrick O'Connor), a man who has always secretly loved Miles (and vice versa), and Miles' eccentric father (scene-stealer Ian Bannen). Boorman grew up in London during the heated years of World War II and it is apparent that he remembers his childhood years not as a time of horror and despair, but as a time of love and lifetime discovery. This is definitely his finest picture (I never did get much out of "Deliverance" and he plummeted to new lows with "The Exorcist II: The Heretic") as he uses quietly effective characters and old-time movie-making principles to create a truly endearing motion picture masterpiece. 4.5 out of 5 stars.

Since I first saw it, 15 years ago, a little film in a little theater, I have regarded John Boorman's recollections of life as a grade-schooler during "The Blitz" as astonishing. Over the years I've used the movie to bring to life the very points that Anna Freud makes in her diaries of the "War Nurseries" she ran in Hampstead. While the movie is always entertaining, it nevertheless shows the effects on kids and families of life at home during a war: the separations, the losses, the physical damage, the inflammation of aggressive impulses in normal kids, the loosening of parental control over adolescents, the dropping of the curtains we use to keep kids from seeing more than they ought to. The film is wonderfully English, with customary attention to period detail, and a great collection of eccentric and memorable secondary characters. You've just got to see the geography lesson, featuring a middle-aged martinet school-marm who whacks away at a world map, using her pointer to punctuate her lesson on the vastness of England's pre-war empire. I have seen this movie on video, and can say that it translates well to the small screen. In fact it was created for British TV. See it. You'll laugh. You'll cry. And don't tell anyone--You'll learn something, too.

Autobiographical film by John Boorman who describes enjoyable vignettes about recollections from his boyhood . Seen through the young boy's eyes , WWII originates a playground of memory to collect and wild imaginings brought to life in which a family battling through Nazi planes , Blitz , fire and blow up . It is starred by a nine year old boy called Bill (Sebastian Rice) as he grows up in London during the blitz of World War 2 . For a kid , this time in history was more of an adventure , a total upheaval of order , limitation and rules . As his mother (Sarah Miles) must deal with the awakening of her adolescent daughter (Sammi Davis) keep her children in line , balance food rations and attempt to shelter against bombings on the suburban street . Meanwhile ,Bill and his friends prowl the ruins and debris of bombed houses and when occurs bombings they run to bomb shelter .

A flavoursome semi-autobiographical project by the same filmmaker whose recollections come true as seen through the eyes of director John Boorman, who also wrote and produced . There are rollickling portraits of the family members , the bands of young boys are well-drawn and exploring the liberating effect of the war on the women left behind . Interesting and agreeable screenplay , including Boorman's own dialog . It contains a portrait of the lower middle classes battling through suburban semis , good jokes , chuckles and some scene rings horrendously actual , but in other hand other images seem unreal . The highlights of the movie are the joy when a rocket blows up the school and scenes dealing with the gang of boys . It's a fine companion to ¨Forbidden games¨ by Rene Clement , ¨Empire of sun¨ by Steven Spielberg , and ¨Au Revoir Les Enfants¨ by Louis Malle ; all of them dealing with WWII from memories of kiddies . Good British cast who plays with relish as Sarah Miles as the mummy , David Hayman as daddy , Sammi Davis as the feisty daughter , Derrick O'Connor as Mac , Susan Wooldridge as Molly and the French Jean-Marc Barr as the boyfriend . Special mention to Ian Bannen as the grandfather who steals the show as a rogue veteran . Furthermore , Boorman's two children as Katrine and Charly Boorman . Colorful and evocative cinematography by excellent French cameraman Philippe Rousselot . Evocative and stirring musical score by Peter Martin .

The motion picture was well directed by John Boorman . He's a real professional filmmaking from the 6os , though sparsely scattered and giving various classics . John started as an assistant direction and his friendship with Lee Marvin allowed him to work in Hollywood as ¨Point Blank¨ (1967) and ¨Hell in the Pacific¨ (1968) from where he returned to the UK and directed ¨Leo¨ (1970) , a rare Sci-Fi titled ¨Zardoz¨ (1974) or the ¨failure Exorcist II¨ (1977). His films are without exception among the most exciting visually in the modern cinema . He became famous for Excalibur (1981), the best of them , ¨Emerald forest¨ (1985) with a ecologist denounce included and his autobiographic story ¨Hope and Glory¨ (1987) and which brought him another Academy Award Nomination after ¨Deliverance¨ . Rating : Better than average . Wholesome watching .