Hope and Glory

Sebastian Rice-Edwards - Bill
Sarah Miles - Grace
David Hayman - Clive
Geraldine Muir - Sue
Derrick O'Connor - Mac
Sammi Davis - Dawn
Ian Bannen - Grandfather George

John Boorman's reminiscences of childhood during the London Blitz form the basis of this unconventional but believable comedy. This film is filled with memorable characters and a child's sense of wonder at the War. There are lots of films made about World War II. Some are idealised - and just about any English language film made during the War was - and some are more realistic. There are at least some films made about the British home front but very, very rare is the film that does not idealise. You get this vision of a dedicated British people suffering bombs and bullets with an idealised British stiff upper lip. Many seem inspired by Mrs. Miniver, John Boorman, whose films usually are abstract and in the fantasy genre, has turned out a realistic reminiscence of the WWII British home front which probably has more than a little autobiography. Hope and Glory is a child's-eye view of the home front, though we see what is happening with the understanding of an adult.

Very simply, Hope and Glory is the comedy/drama of the Rohan family of five when Daddy enlists in the army and goes off to war. The first scene of the film sums up the best of the film. We see a weekend movie matinee audience at a theatre. On the screen, a sombre newsreel talks about a worsening international situation that we know will soon lead to hostilities. In the audience, however, war seems to have broken out already as screaming kids run around, throw things at each other, and generally have the high old time that kids always have if given half a chance. Well, the war does come but it still leaves the children that necessary half a chance. This is was with a sense of wonder. After each bombing the children joyfully run around to pick up souvenirs like shrapnel and shells. Even the adults stare with childlike wonder as an errant barrage balloon, almost as big as a house, floats solemnly through the neighbourhood, capriciously damaging a chimney here or a roof there. And in this world of the inanimate balloon seeming like a mischievous floating monster, we see some of what could have inspired Boorman's love of fantasy.

Unfortunately, partway through the film seems to lose some of its vision. The story of the children gives way to a soap opera story of Bill's teenage sister. The subplot of the sister drags the film down a bit but the mother's character is every bit as well drawn as young Bill's. And in one sequence a prayer voiced under the mother's breath focuses the film and elevates her part from a portrayal of a hysterical mother to a tragic hero. The film is at its best when it is about the mother or son in London. When the film shifts away from London, as it eventually does, it loses its uniqueness. But until that point it is nearly perfect.
Review© Mark Leeper.