Film

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The 19th Military History Carnival has been posted at Military History and Warfare. For my pick from this edition I can't go past the first entry, on the interwar RAF at Thoughts on Military History. It's part of the first chapter of his thesis, and it's a very good overview of the financial and operational problems faced by the RAF. I particularly like Ross's point that the perception that the RAF was all about strategic bombing was never wholly true -- it always devoted brainpower and scarce resources to problems such as army co-operation. And the perception has distorted the historiography since then. If I had to quibble, then it would be with this part:

The RAF also had to deal with the gradually changing geo-strategic situation in Europe. For example, in the mid-twenties, in a period of deteriorating relation with France, the RAF had to deal with the potential threat of what has been described as the French air menace. This, coupled with the emergence of the threat of Germany in the 1930’s led to the materialisation of a distinct home fighter force based around the concept of strategic air defence. This force starting out in 1923 as the Home Defence Air Force with a projected strength of 52 squadrons would eventually emerge as RAF Fighter Command.

There's nothing actually incorrect here, but from my own parochial perspective I'd want to stress that while it is true that HDAF did eventually lead to Fighter Command, in theory it was supposed to be composed of 2 bomber squadrons for every fighter squadron. It was to be a striking force, not primarily an air defence force: it would defend Britain by bombing the enemy. Of course, in practice it had more fighter squadrons than bombers, because they were cheaper to build, and once the supposed French threat disappeared there was no urgency to complete the whole HDAF programme until Hitler came along. But as I say, nothing in what Ross wrote actually contradicts any of that, it's just me being nit-picky :)

Bonus! Because I forgot to nominate anything for the Carnival this time around, here's one I would have nominated from The Bioscope. It's about the 1916 film The Battle of the Somme, which was recently issued on DVD by the Imperial War Museum. A hugely important film and a very illuminating post.

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The Dawn Patrol

This post will only be of interest to Melbourne readers. Melbourne Cinémathèque is holding a season of 1930s Howard Hawks films this month, including three of his aviation classics: Only Angels Have Wings, Ceiling Zero (both on Wednesday, 3 December) and The Dawn Patrol (Wednesday, 17 December). They're showing at ACMI. I don't think I've seen any of them so I'll probably be there! Thanks to Cathy for the tip.

Image source: Wikipedia.

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Last year I gave a lecture where I said that Things to Come, the 1936 Alexander Korda production of H. G. Wells' novel The Shape of Things to Come, was not a very popular film, that not many people would have seen it. I had to retract that, but I then said that

I stand by my other point, however, which was that Things to Come is actually very singular, at least in British feature films: there are very few depictions of a city being turned to rubble by air attack

Now I have to retract that too, as since then I've compiled an -- admittedly short -- list of interwar British films which do depict cities being destroyed by bombing, or at least coming under the threat of air attack.

Some of these I did know about, such as The Airship Destroyer (1909). It's now available on YouTube, under an alternate title, Battle in the Clouds. In it, an airship bombs a city, which is last seen in flames. I'm not sure if either of the sequels, The Aerial Anarchists and Pirates of 1920 (both 1911) had anything comparable.

There's a long gap after that. The Flight Commander (1927) climaxes with Sir Alan Cobham bombing a Chinese village, which was filmed at the RAF Pageant, but that's more air control than strategic bombing. In High Treason (1928), written by Noel Pemberton Billing, an aerial war is threatened, but averted. There were a few American films set during the First World War which showed Zeppelin raids on London, including The Sky Hawk (1929) and Hell's Angels (1930), but they're, well, American.1

Things to Come (1936) was actually, I think, the first proper (i.e. scary) depiction in a British film of the effects of a truly devastating air raid. But there were others over the next few years. A pair of short instructional films, The Gap (1937) and The Warning (1939), have long piqued my interest, but unfortunately I didn't get to see them while in London. The Gap was a recruiting film for the Territorial Army, which manned Britain's anti-aircraft guns. London is hit by a surprise air raid, and because there are not enough AA gunners it is devastated. The Warning was aimed at drawing in volunteers for air raid precautions, and portrays the terrible aftermath of an air attack on Nottingham. Air defences swing into action, but do little to prevent the carnage.
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  1. I think one or the other of these was the source of a similar scene in a British film from the 1930s or 1940s, or perhaps it was from the Korda documentary Conquest of the Air (1936, but not released until 1938). I can't for the life of me remember what film I saw it in, but the scene was too short and too lavish to have been made specially. [↩]

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WarGames

This week is the 25th anniversary of the Australian cinematic release of WarGames, which is mainly significant because I missed the anniversary of the US release a few weeks ago! There were a few retrospectives floating about then, which focused on the movie's importance as an early popularisation of the hacking and phreaking subcultures, and its influence on adolescent computer geeks (which is admittedly where most of the fun derives from). Instead, I want to look at the wargames in WarGames, and the ideas about nuclear strategy which it imparted to its young Gen X audience. Well, I have no hard figures about any influence it might have had, but I was probably just about a teenager when I first saw it, and it certainly helped form my ideas about nuclear warfare. (Though it also inspired me to try coding a Joshua simulator on the C64 ... I didn't get very far!) Warning: spoilers follow.
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This is the talk I gave at Earth Sciences back in May. It's long and picture heavy and much of it will be be familiar to regular readers, but some people expressed some interest in it so here it is. I've lightly edited it, mainly to correct typos in my written copy. I've put in links to the Boswell drawings because they're under copyright, and I've replaced one photo because I realised it was of British Army Aeroplane No. 1b, not British Army Aeroplane No. 1a! How embarrassing.

Facing Armageddon: Britain and the Bomber, 1908-1941

Today I'm going to give you an overview of my PhD thesis topic. My broad area is the history of military aviation in the early twentieth century, so first I'll give you a little background on that.

Wright Flyer (1903)

The first heavier-than-air manned flight was made by the Wright brothers in 1903, as you can see here. Within a few years, countries around the world started thinking about how they could use this new technology for warfare.
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Short Empire

Director Baz Luhrmann (Strictly Ballroom, Moulin Rouge) has been working on a new film, called Australia. As the name perhaps suggests, it's a sweeping saga of this wide, brown land of ours: the men who conquered it, the women who loved them, the cattle, the dust, the flies ... well, it sounds pretty dull to me, to be honest. But I saw an extended trailer before Indy IV the other day, and it seems that Australia does have a couple of points of interest for the airminded film-goer.

The first is hinted at in this set photo. It shows Nicole Kidman ('our Nic') and, if I'm not mistaken, Bill Hunter (who is contractually obliged to appear in every major Australian motion picture) in a boat with 'QANTAS EMPIRE AIRWAYS LTD' written on the side. Well, since Qantas have not, historically, been known for their watercraft, presumably there'll be a Short Empire flying boat around somewhere! Such as the QEA Empire boat pictured above, VH-ABB Coolangatta. That's excellent -- we don't see enough of these strangely beautiful aircraft these days. But a few scenes with a CGI flying boat are probably not enough to get me into the cinema.

The second is much more central to the story, it seems: the Japanese air raids on Darwin on 19 February 1942, carried out by the four fleet carriers of Nagumo's task force and land-based bombers from the East Indies. About 240 aircraft attacked the harbour and airfield; 10 ships were sunk and about 250 people killed. To date, it's the heaviest and costliest attack by an enemy on an Australian target.

Which would seem to make it a fitting subject for an epic Australian film. Except that there was no Blitz-style, Darwin-can-take-it stoicism here. In fact, what happened was not unlike the pre-war predictions of the effects of an aerial knock-out blow. Half the town's population of 2500 (most women and children had been evacuated in December) fled south after the raid, along with a fair number of RAAF service personnel -- the so-called 'Adelaide River Stakes' (Adelaide River being a small town about 60 km south of Darwin).1 It's true enough that the two air raids were taken as a sign of imminent invasion, not unreasonably since Fortress Singapore had surrendered just four days earlier, along with most of the 8th Division AIF; and Darwin was a long way from any help. And it has been suggested that the deserting servicemen had been given confusing orders. That doesn't explain the fact that one of them got as far as Melbourne (about 4000 km away!) before stopping. Or, more seriously, the looting which took place in Darwin the night after the raid, perpetrated by servicemen (including some military police). There was certainly bravery -- not least from the USAAF pilots who took to the air to defend Darwin in their P-40s, though greatly outnumbered -- but overall, it's a pretty inglorious episode in Australia's military history. (And an example of something which Australians might do well to remember on ANZAC Day.)

So, it will be interesting to see how the raid's aftermath is depicted in Australia. Telling anything like the full story would seem to cut against the intended epic nature of the film. But it sounds like Luhrmann does does intend to tell this part of Australia's history:

Darwin was attacked 64 times in six months ... The government (disguised) the truth: 2000 whites were killed and non-whites were not counted, so the toll was far greater," he said. "But everything in the film will be in service to a great romance ... Facts will be moved around but not in a way that fundamentally disturbs the truth.

I may have to see it after all ...

(The title of this post, as Australians of a certain age may have guessed, is an homage to that great maker of epic films, Warren Perso, the 'last Aussie auteur'.)

Image source: Wikimedia Commons.

  1. See here; the relevant volumes of the official history, Douglas Gillison, Royal Australian Air Force, 1939-1942 (Canberra: Australian War Memorial, 1962), 426-32, and Paul Hasluck, The Government and the People, 1942-1945 (Canberra: Australian War Memorial, 1970), 141-4; and the relevant volume of the centenary history of defence, Alan Stephens, The Royal Australian Air Force (South Melbourne: Oxford University Press, 2001), 136-9. [↩]

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What was the first post-apocalyptic film? This is something I've wondered for a while. First, I should define what I mean by a "post-apocalyptic film". It's one which posits some great global catastrophe which shatters civilisation.1 It can show that catastrophe but the focus has to be on what happens afterwards: how do people survive, what problems do they face, can they rebuild civilisation in some form, or is it a struggle to hold on to what they've got? Nearly everything everybody took for granted has been swept away or changed out of all recognition -- social classes, political institutions, gender relations, fast food chains. People with guns have a big advantage -- until they start running out of bullets. And so on. Mad Max 2 and 3 are classic post-apocalyptic films (Mad Max itself is borderline, as it is interestingly set in a world sliding into chaos, but society is still holding together -- just). So is Threads, though it spends more time on the apocalypse itself. Children of Men arguably is; Dr Strangelove isn't, because it ends with the End.

In short, post-apocalyptic films show life among the ruins, and so should be distinguished from their near relations, apocalypse and disaster films, which don't attempt to show the long-term consequences of their particular catastrophes; though of course there is a grey area where the genres shade into each other.

I initially thought the first was H. G. Wells's Things to Come (1936), the middle section of which is unmistakably post-apocalyptic. Three decades after the start of a world war, fighting still continues, only now it's between the inhabitants of what's left of Everytown, and the tribes living in the hills, squabbling over a coal mine. An epidemic has killed half the population of the planet, but now that it is over, the town is recovering. Petrol is scarce, so a double-decker bus now serves as a butcher shop, and cars are drawn by horses, though people still wistfully remember how far they used to travel in them ...

But was there anything earlier? There's no reason why there couldn't be. Wells didn't invent the post-apocalyptic novel; that honour belongs to Mary Shelley. Her triple-decker The Last Man was published, anonymously, in 1826, and traces the fortunes of one Englishman as the rest of humanity succumbs to a plague. He ends up alone, wandering among empty museums and palaces, and then setting off in a boat down the east coast of Africa. As it happens, a no-budget version was filmed this year, though it appears to have traded the melancholy for large volumes of automatic weapons fire.

So, I turned to the venerable IMDb.2 This only has incomplete information for early films, particularly silent-era ones, but it's better than nothing; and it has a system of plot keywords, such as Post Apocalyptic and Last Man on Earth, which can be used to pick out likely candidates from before Things to Come. There are four in total, three American and one French. Actually, two of them, It's Great to Be Alive (1933) and El Último varon sobre la Tierra ('The last man on Earth'; 1933 -- though it's in Spanish it appears to be a US production) are remakes of The Last Man on Earth (1924). The catastrophe in these three films is a plague which kills only men; all men are wiped out, except one, who then has every woman in the picture competing over his affections. These three don't take the apocalypse very seriously, however: they are all comedies, and the later versions are musicals to boot. I doubt their makers were very interested in exploring what might happen to society should one sex die out (beyond suggesting that a female US president would allow the White House to be overrun by cats); they sound more like nudge-nudge wink-wink male fantasies of getting rid of all of the competition. (One link I found referred to the title of one of the films as It's Great to Be Alive When You're the Last Man on Earth, which says it all, really.)

The fourth candidate is Sur un air de Charleston (1927), a short film made by Jean Renoir. Here, the premise seems to be that a future war has wiped out Europe. An African airman lands in the ruins of Paris, sees a white woman, who proceeds to ... show him the Charleston. He learns to dance it as well. Then they fly away again. Oh, there's a chimp too. Well, I suppose it could be argued that it's some sort of commentary on the pervasiveness of American popular culture (not just the Charleston, but the African is played by an African-American dancer wearing blackface!) or an inversion of white anthropologists watching and recording indigenous dances, or something. But the indications are that it was just a bit of fluff which Renoir didn't even bother to edit into a proper film (that was done later). If there was a point, it was to show off his wife's dancing, and to play around with some film effects.

These all do appear to be post-apocalyptic films of a sort, but, at best -- and without having seen any of them, I must add -- they are amusing opportunities for seeing the world turned upside down, not serious excursions into the land of What If ...? In drawing such a distinction, am I just being a snob? Maybe it's just my own peculiar bias; for example in my own research I look for novels which treat the idea of city bombing seriously enough to have thought through the consequences of their suppositions. The authors think what they describe might really happen; so their readers might too. So I look for something similar in post-apocalyptic works too. But still, I'm happy to give the title of first post-apocalyptic film to The Last Man on Earth, for now; Things to Come can be the first serious post-apocalyptic film :)

PS To keep tabs on what's happening after the apocalypse, check out Quiet Earth.

  1. I think it has to be global, or least nearly global in its effects. If for some reason Australia's cities were wiped out by swarms of meteorites, say, but the rest of the world was unaffected, the survivors wouldn't be left to fend for themselves, there'd be rescue efforts, rehabilitation etc. At the very least, I guess the people affected by the catastrophe have to believe that it's pretty much global, that there's no help coming from elsewhere, and so they have to fend for themselves. [↩]
  2. Incidentally, probably the website I've been using the longest -- I can remember when it was called the 'Cardiff Movie Database Browser' ... [↩]

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The Invasion of 1910

I recently had the somewhat guilty pleasure of watching Flood, a film (from a novel) about the sudden devastation of London by a massive storm surge -- predicted by a scientist who had long been dismissed as a crank -- which swamps the Thames Barrier, submerges most of the city's landmarks, kills a couple of hundred thousand people and forces most of the rest to evacuate. An even bigger disaster is averted (just in the nick of time, as it happens) and Londoners are left to clean up the mess. All very timely, given the unusually high proportion of England which was under water earlier this year.

Disaster movies are a pretty venerable genre by now (there were at least three films about the Titanic made in the year after it sank). The subset which deals with destruction on the scale of a big city (or larger) -- as opposed to aeroplanes or skyscrapers -- is relatively small, and that concerned, like Flood, with the fate of London specifically is quite small indeed.1 No doubt this is because disaster movies are generally loaded with special effects and therefore are expensive, and as the US market for film is so huge, it makes more financial sense to destroy some American city rather than a British one. So there aren't all that many cinematic depictions of the end of London. But books are much cheaper to make, and in those London has been destroyed many times over.

I've been trying to think of the first time this happened. It's easy enough to find early references to the eventual ruin of London, such as H. G. Wells's The Time Machine (1895), Richard Jefferies' After London (1885) (in which a neo-medieval adventurer seeks his fortunes amid the city's swampy remains), or Macaulay's New Zealander (1840).2 But those only show London long after its fall, and so, properly speaking, are post-apocalyptic. The actual destruction happens off stage; it is inevitable, something to accept rather than prevent. Other candidates might include science fiction stories like Arthur Conan Doyle's The Poison Belt (1913), wherein the Earth passes through a region of toxic ether, and Professor Challenger and companions take an eerie trip through dead London afterwards.3 Or H. G. Wells's The War of the Worlds (1898), with its Martian tripods laying waste to the metropolis with their heat rays. Where else might we look?
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  1. The Day the Earth Caught Fire springs to mind (rather oddly, since I haven't seen it); Day of the Triffids and 28 Days Later too. There must be others though. [↩]
  2. Not actually a novel, a story, a paragraph or even a sentence: merely a few clauses in a book review, referring to some future time 'when some traveller from New Zealand shall, in the midst of a vast solitude, take his stand on a broken arch of London Bridge to sketch the ruins of St. Paul's.' But the image caught the imagination of many who read and spread it, to the point where it practically became a cliché. See David Skilton, "Tourists at the ruins of London: the metropolis and the struggle for empire", Cercles 17, 93-119. [↩]
  3. Even if the ending is a huge cop-out. [↩]

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As part of the BBC's Summer of British Film, The Dam Busters will be showing next week at selected cinemas across the UK. I'll be seeing it, with at least one Airminded regular, at the Peckham Multiplex next Tuesday at 7.30pm, for the surprisingly reasonable price of 99p. Any readers who would like to come along would be most welcome; give me a shout in the comments or directly, and we'll arrange ... something.

It's always a pleasure to see classic movies the way they were meant to be seen, on the big screen. (Although "big" is a relative term, especially here given that it's at a multiplex!) And it is a classic: bombers, boffins, bouncing bombs, a stirring musical score and an unflinching portrayal of Bomber Command's area bombing policy. Well, obviously that last part is a lie -- but it's still well worth seeing.

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For a long, long time, there was only Zeppelin vs. Pterodactyls: the poster. Then there was ZvP: the movie mashup, followed by ZvP: the cartoon mashup. And now there's ZvP: the webcomic, along with ZvP: the t-shirt!

I obviously wasn't responsible for creating any of this. I wasn't even the first to blog about ZvP. But through the stochastic wonders of the blogosphere, my post about it was picked up by blogs more popular than my own, which then spread the word to a much larger audience, with the results that you see above. So I do feel as though I can claim a very modest share of the credit for this ZvP revival!

And I may just have to buy the t-shirt ...