by Sam Juliano
John Boorman’s Hope and Glory stands apart from nearly-all other World War II-themed films in that it presents an idyllic view of terrible events, seen through the eyes of a ten-year old boy. By displaying the humor and the resilience of the boy’s family and the British people in general, the film at first broaches denial, and then segues into domestic life wrought under danger and hardship, where luck plays a large part in the survival game. Hope and Glory is for it’s writer-director a semi-autobiographical work centering around his own experiences of a child growing up during the war, and of the psychology of a nation not yet ready for such a calamity. When a school teacher quips “a few bombs may wake up this country” and the boy’s mother complains that they’re “starting a war on such a beautiful day”you know that many aren’t prepared for, nor aware of the deadly battle of wills that is to soon ensue.
Young Bill Rohan, played by a spunky young actor named Sebastian Rice Edwards, lives with his parents and two sisters in a London suburb. His father, who is too old to serve in combat, is assigned to a military desk job early in the film, so the young boy is surrounded by females and a close friend of his mother. His daily routine is in large measure to attend school, engage in mischief with friends, and scour through the wreckage caused by bombs that penetrate the blimp defense employed around the country. You don’t have to be British to be stirred by an emphatic school master’s patriotic speech invoking Churchill and and the brave young warriors enlisted to defend the country, with the strains of Elgar’s “Pomp and Circumstance” underscoring the noble defiance. When Billy holds up the cover of a war periodical at the end of the sermon, we’re reminded that the kids think it’s a big adventure, no different that when Billy plays with his collection of soldiers before going to bed. And few mothers won’t be able to relate to a wrenching scene when Bill’s mum breaks down a the train station, at the planned prospect of sending Billy and his youngest sister away to safer pastures until the end of the war, only to change her mind and be rejected by the officials.
From the opening scene in a movie theatre, when grim newsreel footage displays a somber Neville Chamberlain, who asserts that war is imminent, to the deliciously ironic ending when a child celebrates the destruction of a school by an errant bomb by shouting “Thank you Adolf” Hope and Glory is infused with humor and the care-free nature of children, who can’t register the dread and horrors of war. After the latest bombings they run around the streets gathering up shrapnel and other collectible souvenirs. Billy even gets to rain on the parade of his older sister Sammi, who is making out with her boyfriend in the remains of a bomed out building, by having his friends heave stones at the young lovers. Boorman deliberately refuses to have Billy see even a wounded soldier, as it would compromise what he was trying to suggest in the film, and would invariably tread the same territory as films that focus only on death and destruction. Boorman seems to be saying that the war didn’t dehumanize people, rather in the face of extreme danger, it’s love and outlook that matters most. Granted, Hope and Glory often pushes the envelope on sentiment, but as the film was written as a recollection of past events by an adult reflecting on them, this kind of feeling is woven into the fabric of the story, which poses the question “So what did you do during the war years?” The air raids, the plane dogfights and the scorched landscapes (a particularly effective sequence shown in silouette with golden light of soldiers gathering the dead, is complemented on the soundtrack by Chopin’s haunting “Prelude in E minor”) are daily routines and reminders in war there is little reason to be upbeat. Yet, ever the Englishman, Boorman provides levity in the eccentric nature of many of his compatriots in an outstanding sequence when a German soldier lands on British soil. The bobby who takes control of him leads him through a vegetable patch, explaining to him “Here are the brussel sprouts” an amusing moment dealing with the British predilection with order. And when the father returns to the family with a can of “German jam” the mother poses that it’s an axis plot to poison the entire population.
Of course Boorman plays for comedy up front in the film’s last section at the country home of the boy’s lovably cantakerous maternal grandfather, who plays cricket and tells the kids to “catch fish,” an order they comply with after a bomb explodes nearby causing all the fish to rise to the surface, subsequently enabling the kids to return with a few hundred. This ironic form of ‘salvation’ is another example of Boorman’s suggestion that good emanates from bad. The incredulous geezer announces “My, you’ve outdone yourselves this time!” The British actor Ian Bannen is excellent as the habitual complainer with a soft side.
The gifted cinematographer Philippe Rousselot gives the film a striking period feel in muted color that beautifully evokes Britain in the 30’s and 40’s. Peter Martin’s subtle score, especially the title theme-music perfectly evokes the film’s sentiments and mood, and his use of classical standards like the aforementioned Chopin, Porter’s “Begin the Beguine” and Wagner, are effectively employed, in establishing mood, period and national culture. Of the performers not yet mentioned, Sammi Davis as Billy’s love-starved older sister gives an affecting performance, but Sarah Miles as the mother overacts. David Hayman is fine as a loving father, even if the role is a stereotype.
Never before in Boorman’s career, which includes action-adventure films like Point Blank, The Emerald Forest and Deliverance, has he then or since exhibited the sensiblities prevelant in Hope and Glory. But only in this instance did he have a personal story to tell, and as such this material was dearest to his heart. Hope and Glory’s unassuming spontaneity is a breath of fresh air in a film genre rarely marked by levity. It’s a lovely work.
Note: In 1987 when ‘Hope and Glory’ was released I escorted 15 sixth-grade students to the Guttenberg Theatre to see the film. It was a most successful experience, and a few of the gifted kids wrote great reviews. The film was a lynchpin in commencing with a World War II unit.
I agree with almost all you said here Schmulee, in your fine essay. I don’t think Miles overatcts. Her performance is pronounced, but I feel that all the “adulyt” performances are pronounced. Boorman, I feel, intentionally had the adult actors go slightly over-the-top to differentiate the over-important feelings they had about the situation, whereas the children just see it as another day in their lives, albeit some strange happenings. This is a lovely film that stays with the viewer for a long time after the credit scroll. Phillip Rousellot’s cinematography is perfect in realizing beaury in a landscape scortched by haze and smoke. He would later use those same talents to capture the almost magic quality of the Montana Mountains and fly-fishing with his Oscar-winning work on Redfords beautuful A RIVER RUNS THROUGH IT. Nice little essay Schmulee.
Great comment Dennis. I think Ms. Miles tried too hard, and her crazed histrionics sometimes rung false, even if it was hardly a major problem here.
As I recall, this film was released the same year as Spielbergs EMPIRE OF THE SUN. Both films were praised. I know HOPE AND GLORY nominated for the VEST PICTURE Oscar, but both were being considered for the nomination. I find it interesting that both films are about a childs perspective of World War II, yet both are completely different in tone. This, of course, doesn’t mean one is right or wrong. Rather, they are diffwrent because the experience are different. In both cases though, Spielberg and Boorman focus on the boys fascination on the “coolness” of war and the innocence upon which they look at it. Where they differ is Boorman looks at it in a more loving way and Spielberg slowly travels the route of turning it into a condemnation of war. I prefer the Spielberg film, ultimately, but HOPE AND GLORY was hot on its heels.
Precisely, Dennis. I couldn’t agree more. Spielberg, at that time was not in the good graces of the Academy.
Sam, this is a delightful appraisal of a film I remember vividly. The final scene of the the boy saying “Thank you Adolf!” sums up the spirit of the film, which as you state is bittersweet. One scene of the boy walking down the street picking up pieces of shrapnel seems to imply that there is always another day. The scene in the school with te animated headmaster was great too.
That final anarchic scene did indeed sum of the film’s defiant spirit, Frank.
Lovely writing. I enjoyed your description of all the touching and funny scenes in the film. Don’t think I’ve seen it, but I saw Deliverance by John Boorman. Night and day.
Couldn’t be further apart Maria. But of course, the autobiographical HOPE AND GLORY was completely different than anything Boorman had ever done. It’s significant too that he wrote his own screenplay. Thanks!
Great review of John Boorman’s best film. By summoning his personal memories )and perhaps his inner demons,) he showed war from a completely different perspective. That grandfather was a cornball though, but maybe that’s the point.
Dennis’ comparsion of this film with ‘Empire of the Sun’ is interesting, but I am not so sure that Ballard was going for the same thing as Boorman.
The neo-noir ‘Point Black’ is one of Boorman’s best. And that’s another direction entirely. But you could basically group most of his films into the action-adventure category, Dennis.
I like that ‘inner demons’ contention, Joe. At the time of the film’s release members of Boorman’s family (his sister particularly, as I recall) were happy that certain aspects of the characters’s relationships was ‘brought out into the open.’ Thank You.
Definately night and day, Maria. HOPE AND GLORY is a meticuloudly detailed recreation of war-torn England seen, nostalically through the eyes of children. DELIVERANCE, one of the 25 best horror films of all-time, is a dark and physical treatise on murder, morality and guilt. But, when Boorman turns the gas on, he proves himself a terrifically insightful director in any genre.
No Joe, I wasn’t going for the same thing. I mentioned that BOTH films do see World War II from a childs eyes. However they veer off into totally different territories. Boormans film is a nostalgiac chronicle of life in England during the war. Spielbergs film deals with the honor of war and, ultimately becomes a harrowing condemnation of war. I like both films very much, but I prefer Spielbergs ultimately. I’m pretty sure Sam will tell you the same thing and I know which film he feels is the greater.
ok Dennis, fine clarification, and nicely worded.
It’s a tough call Dennis. Both are great films. But you accurately point to the different perspectives.
I hate playing the role of contrarian Sam, but this film failed to get beyond the ‘picture postcard’ stage. There were some modestly effective vignettes, but Boorman’s blend of humor and heartbreak was awkward. The long segment at the end, where the boy bonds with that old curmudgeon is embarrasing. It goes without saying that you have written your typical insightful review.
Thanks for conveying the dissenting position Bill. The film received generally excellent reviews, but a number seem to have sided with you and the points you broach here. Neeedless to say of course, I don’t agree.
I agree that almost 99% of Boormans films can be placed in the genre of ACTION/ADVENTURE but NOT DELIVERANCE. Everything that is envoked in that film leans it towards HORROR. The setting, the preminatory opening, the actual actions in the dark gothic forrests and the final, haunting dream sequence. Nope, ENTERTAINMENT WEEKLY got it right in their October 2000 Halloween issue by calling DELIVERANCE on of the scariest horror films ever made.
I am still unsure if DELIVERANCE can be classified as “horror.” In fact I lean towards a rejection. It’s more of a thrill ride with some sordid and terrifying interludes.
I’d agree that HOPE AND GLORY is a terrific film. But I cannot agree that its Boormans best. Looking back at his history, I’d venture to say that either DELIVERANCE or EXCALIBUR are the two that do it for me. I know that some find EXCALIBUR hard to take, but rarely has the directors heart and love for the material been so obviously evident. I’d place HOPE AND GLORY third under DELIVERANCE (no.2) and EXCALIBUR (no. 1). IMO.
I rate HOPE AND GLORY above those, but I think you already know that. LOL.
Boorman deliberately refuses to have Billy see even a wounded soldier, as it would compromise what he was trying to suggest in the film, and would invariably tread the same territory as films that focus only on death and destruction.
I think the problem all this is one of selective focus. Is this truly a work of realism, or did Boorman string together scenes or episodes that enforce his world view as a child? You’ve written another excellent review that defends his decision, but I guess you’ll have those who buy it and those who won’t.
David, let’s just say it’s “selective realism’ which Boorman certainly has dramatic license to enact. The omission may offend the realists, but it enhances his themes, which is perfectly acceptable, and in this case a wise choice.
It’s been 20 years since I’ve seen Hope and Glory, so my memory may be a little off. But I seem to remember that the realities of the war only dawn on Billy when he comes across his box of tin soldiers that have melted after his house caught fire. I don’t know if was Boorman’s intention to use these toys as substitutes for wounded or dead soldiers, but the image of this little boy with his melted possessions has always stuck with me.
John:
Thanks so much for visiting the site, and I must say you seem to have nailed it there! Billy did receive that patriotic lecture from his school master before this, but as you’ll recall he was oblivious to it all, and was even misbehaving. The melted toys is a central image in this film. Thanks again John!!!
A great essay on a recent favorite of mine. It wasn’t until a few weeks ago that I finally saw this one and it’s outstanding. I still maintain that the final “Thank you Adolf!” scene at the school is one of the finest, funniest endings to a movie that I’ve ever seen.
Oh Dave, I completely concur. Fabulous coda! I expect then that we may be seeing this film as a contender for th etop spot when you reach 1987. Thanks for the very kind words as always.
I have always loved this film. It’s a positive side of Clement’s Forbidden Games.
Brilliant point there Frederick, if I may say so. Clement of course was uncompromising, while Boorman suggested that many were unable to grasp the magnanimity of the situation.
Sam, not much to add (don’t I always start my comments with these words), fantastic review and you hit all the right moments in the film.
At any rate…this is one of my all time favorite films from my childhood. I guess I was about eight when I saw it upon its initial release (on VHS, or wait, probably Betamax back then) and it has stuck with me ever since. This is one of those films I love to return to again and again…and I never tire of it.
I always had a thing for Sammi Davis, too — she was equally hot to trot in period garb in the excellent TV nighttime soap, “Homefront”. I wonder what ever became of her? Aside from Ken Russell’s uproarious “Lair of the White Worm” (hands down my favorite Hugh Grant film ever) — I don’t recall ever seeing her in anything else.
David, thanks very much. I haven’t forgotten how much you love this film, and your comments here are extremely important to me. Ms. Davis was indeed ‘hot to trot’ but I haven’t seen her since. I’ll have to ask Allan if she’s appeared in anything else other than “Lair.”
Of course, HOPE AND GLORY was a very popular film in 1987, made dozens of ten-best lists, and received those Oscar nomination for Best Picture, Best Director and Screenplay. It was a better film than the one that won, Bertolucci’s THE LAST EMPEROR. I can relate to why you keep going back to it, as I seem to similar taste with you. I watched again yesterday for the umteenth time before I wrote the review, and I was caught up again in the humor and emotion. What a beautiful film.
Sam- Finally getting around to reading your essay here, (its been busy) and you did a superlative job on this touching and at times humorous film of life in England during the war as seen though young eyes. Boorman did a fantastic job on this, though I will admit my favorite film of his is “Point Blank.”
I also though Spielberg’s “Empire of the Sun” was one of his most effective films, a finer film than many of his better known works.
Thanks John. You have gone way way beyond the call of duty at this site, and I appreciate all you have done. I am also a big fan of EMPIRE OF THE SUN, and it placed high on my 80’s list. I also agree with you on POINT BLANK, which is surely one of Boorman’s top films. Thanks again.
The film is a homage to the brave people of Britain who endured night after night of bombing and alarms during the blitz. The Rohan family could be just about any other in the country. I share your deep feelings for this Sam, and salute you for pushing it on those sixth-graders.
Reading your fine review gave me a push to watch this film, which by coincidence I’d just recorded from TV. I must admit that I have somewhat mixed feelings about it – it seems to me as if some scenes are visually magnificent, especially the haunting shots of Billy wandering through the ruined streets, and the footage of the barrage balloon over the houses.
However, some parts do seem to me to tip over into sentimentality, and I must agree with Bill that the long section towards the end where Billy is in the country with his kindly curmudgeon of a grandfather gets embarrassing – to be honest I found Ian Bannen’s performance rather over the top. Glad to have seen it, though.
Judy, thanks very much for responding, and also for having the confidence in my to check out the film. I’m sorry you had the mixed feelings, but Bill and others I know are pretty much in agreement with you. I do agree with you though on what you say about those poignant scenes. Thanks again.
ohh! Cheers!!! great thanks
Does anyone know where I can find sheet music of theme song for this movie?
Did you ever find the sheet music? I would like it too.
Sorry—please notify me–forgot to click on that.