“If we can get them all together working to one end, we’ll soon get the country back on its feet again… “
When I was five, in addition to remembering watching England
win the World Cup, I was also convinced that The War was still going on,
probably in North Africa. This was the result of misunderstanding the nature of
programmes such as All Our Yesterdays, but even in 1966 the Second World War
hadn’t really stopped…
Ten years before this an 18-year old schoolboy named Kevin
Brownlow conceived of a counter-factual feature film that would examine the
premise of the War not only lost but victory achieved on these shores. Joined
by 16-year old Andrew Mollo the two would spend eight years in bringing their
story to the screen and the story of how they did so is an epic in itself.
Underfunded, the project ran on the pure energy of their enthusiasm and
produced a film that was controversial then and remains so now simply through
the act of allowing some actual fascists the chance to voice their views.
The film featured a host of amateurs and in Brownlow and
Mollo’s driven pursuit of authenticity they filmed a group of British Blackshirts
discussing their ideology with other members of the cast. They decided to let
them speak for themselves and didn’t have an opposing voice on the grounds that
the ideas were so patently ridiculous they fell immediately under the weight of
their own delusions; the directors also didn’t want to dignify fascist fantasy
with a counter argument for the unarguable. As it is, the raised eyebrows from
the others says everything about their opinions on Jews, euthanasia and the
Bolshevik threat to Aryan purity…
Stylish promotional cards from the original run |
This sequence was edited out of the general release on the
request of big money distributors United Artists despite objections from film
makers and critics alike, but you can’t just bury fascism you need to know what
it is and why it works… Thankfully this superb BFI restoration includes the
section, taken from Kevin’s own 16mm dupe negative and a 35mm positive.
It Happened Here
is a remarkable film in so many ways and like all good cinema it reflects the
time it was made as much as the time is was representing as the contemporary
reaction shows. Now, as the far right surges forward against a background of Western
economic and democratic decline, is the perfect time to view it again. Brownlow
and Mollo wanted to explain the nature of fascism and to dig beyond the
narrative of consensual opinion that had reduced it to a two-dimensional
metaphor for ultimate defeat; there was no guarantee of victory in 1940 nor,
increasingly in 2018.
The story is set in 1945 and in a world in which Germany proceeded with Operation
Sealion and invaded Britain, defeating all military
and civilian resistance. By 1944, with America now involved in the war, the
remnants of the Allied forces re-arm the British resistance and puts the
security of the occupied country once more under threat.
Pauline Murray in her IA uniform |
There are opening sequences featuring some excellent cutting
from editor Brownlow which shows his appreciation for Eisenstein and Gance as
he sets up the sense of violent defeat amongst the British. The main character
is an Irish nurse Pauline – played by Pauline Murray a gifted amateur Brownlow
had seen in another low-budget film – who is perfectly suited as our window
into this confused world of fear and subservience.
There are some highly impressive shots of German troops hitting
the tourist high-spots of London and marching through familiar spaces. Some of
the film was shot in 16mm by Brownlow and the difference in grain with the 35mm
adds to the feel of documentary: these are the films the Man in the High Castle
would prefer we saw… There’s also an authentic look to the uniforms, locations
and equipment thanks to Mollo’s sourcing actual war surplus kit and the
presence of un-renovated areas in a London still scared by bombing.
Pauline’s husband was killed by the Nazis, but she wants to
avoid the war and just carry on with life. It’s a compromise all the civilians
must face, and the disturbing facts is that as with France and indeed the
Channel Islands, most people prefer compliance to revolt: what happens here is
the same as in Germany, we fall into line… The only way she can be a nurse is
to join the Immediate Action Organisation which delivers health care with an
iron fist all in the name of order and discipline.
This drives a wedge between her and her still free-thinking
old friends… she has to decide which side she’s really on and take a stance.
"Hurrah for the Blackshirts..." |
It’s a tremendous package from the BFI including a 36-page
booklet with essays from Dr Josephine Botting, historian EWW Foster and Mr
Brownlow himself. There’s also a newly-recorded hour-long interview with Kevin Brownlow
with Vic Pratt, an interview with production assistant Johanna Roeber together
with behind the scenes footage from 1956-1966. The “newsreel” featured in the
film is also featured – terrifying enough on its own.
As one of the characters in the film observes: The appalling thing about fascism is that you’ve
got to use fascist methods to get rid of it… we’ve all got a bit of it inside
of us…and it doesn’t take much to bring it out. Think of that the next time
the Daily Mail or Telegraph headline on “traitors” or the politicians
talk about the Will of the People in absolute terms.
It Happened Here is
a vital film and tribute to the cinematic ability and drive of the most
remarkable film historians this country has produced, and it is an essential
purchase – a good way to celebrate the man’s 80th Birthday. He has
the enthusiasm of a man a quarter of that age – clearly doing what you love
keeps you young!
It Happened Here
is released in Blu-ray and DVD dual format on 23rd July and can be purchasedfrom the BFI Shop. The film is also being screened on 23rd July at the BFI with a Q&A with Kevin Brownlow and Andrew Mollo. Details on the BFI website.
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