Hope and Glory (1987)
Hope and Glory (1987)
A Film by John Boorman
DVD5 | ISO+MDS | NTSC 4:3 (720x480) | 01:52:27 | 3,98 Gb
Audio: English, French AC3 2.0 @ 192 Kbps (each track) | Subs: Spanish, French
Genre: Drama, War | Nominated for 5 Oscars + 16 wins | USA, UK
A Film by John Boorman
DVD5 | ISO+MDS | NTSC 4:3 (720x480) | 01:52:27 | 3,98 Gb
Audio: English, French AC3 2.0 @ 192 Kbps (each track) | Subs: Spanish, French
Genre: Drama, War | Nominated for 5 Oscars + 16 wins | USA, UK
An affectionate reverie about war, childhood, and British stoicism, John Boorman's Hope and Glory is the veteran filmmaker's recollection of the bombing of London during World War II. Set on the British home front during the early days of the war, this episodic movie shows the blitz through the eyes of seven-year-old Billy Rohan (Sebastian Rice-Edwards). At the war's outset, Billy finds himself alone in a house full of women, as all the men are called off to join the war effort. With wide-eyed wonder and an outsized imagination, Billy sees the war as a grand diversion, an extension of his world of knights, tin soldiers, and war games. As bombs fall and houses burn, Billy's mother (Sarah Miles) struggles to keep the family together in her husband's absence. Even as Billy seeks to escape the harem of aunts and sisters, Dawn (Sammi Davis), his older sister, falls for a Canadian soldier, who gets her pregnant. After the Rohans' home catches fire (not, ironically, as the result of a bomb blast, but from a domestic accident), the family is forced to move in with Billy's cantankerous grandfather in the countryside, where they spend the rest of their summer and enjoy an unusual idyll amid the raging war. Nominated in 1987 for a Best Picture Academy Award, Hope and Glory proved to be another high point in the career of the remarkably protean Boorman.
IMDB
Hope and Glory (1987)
Hope and Glory, John Boorman’s semi-autobiographical World War II comedy/drama offers surprisingly little emotional treacle considering its setup. Following the exploits of a British family during the Great War and taking the perspective of Bill, an eight year old boy, the film showcases plenty of bomb blasts, but rarely feels bombastic. Though the period detail feels authentic, most of the film takes place along one street in a suburb of London. We get to see a good deal of commotion despite this, and when the setting lacks enough scope, the dreams of Bill fill in the gaps. There are plenty of exciting sights to see in Boorman’s vision of the war, but when the focus shifts toward the emotional, the tone usually grows surprisingly stately and understated. So many small moments in this film play out perfectly enough that the few segments that don’t work (usually those that try to overstep the understanding of the child narrator fail most) feel that much more detrimental. The here and now on display is so thrilling and unique that we don’t want to see this world with even the slightest bit of retrospection.
Hope and Glory (1987)
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With about a half-hour left in the film, Boorman throws a brilliant change of scenery at us that shrewdly shifts the tone of the film. Most other films would have stopped here making the shift of scenery the story’s end, but since this film goes on the entire experience that’s offered is enriched. Life doesn’t always fit cleanly into chapters, and this change is a testament to that. The narrative shakeup it makes us feel is roughly equal to the one that came for the film’s characters early on when the England’s supposedly quick and easy war turned into something that was neither. Hope and Glory’s accomplishment is that it manages to contradict and confound because it rarely takes the easy route. It gives us a child’s perspective that isn’t simple, a portrait of patriotism that isn’t obvious, a portrait of a working class that isn’t particularly noble, and a war that is the springboard for much humor, both mordant and whimsical. Still, the film never lacks gravity. We understand the loss that the characters feel, but the source of that emotional gap is often surprising in its lack of topicality. Just because a war is going on here, doesn’t mean that these characters stopped living their lives. Their regrets, desires, and dreams continue on unabated. The war even provides, in a way, liberation from the rigid structure that kept those feelings tied up. Hope and Glory with its rare occurrence of conventionality is a small, sharply observed movie about big things.
Hope and Glory (1987)
HOPE AND GLORY is a wonderful film, an intelligent, heartfelt, personal, and marvelously entertaining look at what it was like to grow up in wartorn England.
Hope and Glory (1987)
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A semiautobiographical project from British director John Boorman, the film depicts nine-year-old Bill (Sebastian Rice-Edwards) as he experiences the wonders of WWII from his suburban London home. While Americans may find it somewhat disconcerting to see the Blitz and its horrors made the setting for a nostalgic comedy, for Boorman's young boy the war was a particularly exciting and vivid time, and a joyous feeling permeates the film. The total upheaval of the staid family order, the lack of normal restrictions and discipline, and the liberating effect the war had on women are all brilliantly conveyed by Boorman, because he views the war from a child's perspective.
Hope and Glory (1987)
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Told in a series of vignettes, HOPE AND GLORY unfolds in a surprisingly nonchalant manner, dispensing its vividly realized observations at every turn. Boorman skillfully combines nuggets of truth with moments of mirth and is always prepared to surprise and amuse without sentimentalizing.
Hope and Glory (1987)
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