Publisher: CinemaSerf January 30, 2024
This film contains one of the funniest wartime scenes I think I've ever seen... The fish! Anyway, it all centres around the young "Bill" (Sebastian Rice-Edwards) who finds himself - along with mother "Grace" (Sarah Miles) and elder sister "Susie" (Geraldine Muir) caught up in London at the start of WWII. His father (David Hayman) is soon away fighting and his mother refuses to be parted from her children so they stay and muddle through the bombs and the mayhem, the death and the disaster - all whilst, though the eyes of this bold and unafraid child, we see an opportunity for mischief and joy. This is especially apparent when the school of their rather puritanical/Dickensian headmaster (Gerald James) is blown to smithereens. As he and his sister get a bit older, their hormones also start to kick in a little and the joys of illicit sex (or is it true love?) for her and bemusement - and a bit of fibbing - for him are enjoyable to watch. Then they head to their grandfather "George" (the scene-stealing Ian Bannen) who keeps a large house and though outwardly quite strict, is actually a wonderful tonic for his family and for the viewer watching. The narrative doesn't shy away from the ghastliness of war, but it contextualises it engagingly by using the innocence of the youngsters to illustrate that even amidst the rubble there is fun to be had in their hideouts, straight out of an Enid Blyton story. Miles is strong here as the mother who struggles to bring up her children amongst all this carnage, whilst also remaining keen to keep her family together for the spirit-lifting occasional visits from dad. The thing is genuinely funny at times, too - you'll see what I mean about an act of God and the fish, but he's also in a gang that give out ranking points depending on which swear words you know - the "f" word being the ultimate emergency alarm call. The sterling and charming effort from Rice-Edwards parallels a little with Christian Bale's in "Empire of the Sun" that was also made in 1987 and also looks ar war from a child's perspective. This kind of film is the kind the British do well - the stiff upper lip stuff, sure, but also the portrayal of a stoicism, humour and strength of character (not always obvious!) and John Boorman writes and directs with skill and empathy as we progress. If you can, see it in a cinema - the cinematography is great at subtly conveying the wreckage and the pastoral with equal eloquence and I did enjoy this.