{"id":394,"date":"2020-11-02T19:24:26","date_gmt":"2020-11-02T19:24:26","guid":{"rendered":"https:\/\/research.reading.ac.uk\/changing-landscapes\/?p=394"},"modified":"2020-11-02T19:24:26","modified_gmt":"2020-11-02T19:24:26","slug":"wartime-narratives-of-the-english-landscape-rurality-and-national-identity-in-went-the-day-well-1942","status":"publish","type":"post","link":"https:\/\/research.reading.ac.uk\/changing-landscapes\/wartime-narratives-of-the-english-landscape-rurality-and-national-identity-in-went-the-day-well-1942\/","title":{"rendered":"Wartime narratives of the English landscape: rurality and national identity in Went the Day Well (1942)"},"content":{"rendered":"

By Jeremy Burchardt<\/p>\n

\"\"
Turville, Buckinghamshire, where Went the Day Well was filmed<\/figcaption><\/figure>\n

Films offer distinctive and in some respects unique opportunities for representing landscape and, as scholars such as David Lowenthal, David Matless and Paul Readman have amply demonstrated, there is a close connection between landscape representations and narratives of English national identity.\u00a0 It is unsurprising, therefore, that landscape features prominently in many films produced in England during WW2, and in none more so than Went the Day Well<\/em> (1942).\u00a0 This is premised on the take-over of the sleepy village of Bramley End by an undercover unit of German paratroopers, in advance of a full-scale invasion.\u00a0 There are a number of improbabilities: that the paratroopers should land entirely undetected, that they could speak sufficiently idiomatic English to pass undetected for several hours and that they should succeed in cutting communications so effectively that they are able to hold the village for several days.\u00a0 The reward to viewers for accepting these improbabilities is that they set up a counterfactual examination of how a \u2018typical\u2019 English village would react to a German invasion.<\/p>\n

Went the Day Well<\/em> has been praised for its stark realism, including hostage-taking, numerous close-ups of shootings, threats to execute children and the murder of an elderly vicar during a church service.\u00a0 Some critics find this surprising in the context of wartime propaganda.\u00a0 But this is perhaps to misunderstand the film\u2019s purpose, which was surely instructional as much as it was morale boosting.\u00a0 By showing kind-hearted women engaging in acts such as shooting an ex-lover turned traitor in cold blood and distracting a German soldier before smashing his skull with an axe, Went the Day Well<\/em> sought to prepare peaceable citizens for the ruthlessness and extreme violence they would need to use if they were to resist an invasion effectively.\u00a0 Yet in so doing, it inadvertently exposed a fundamental fault line in English pastoralism, a theme to which I will return below.<\/p>\n

\"\"<\/p>\n

Like a number of other British wartime films, Powell and Pressburger\u2019s A Canterbury Tale<\/em> for example, Went the Day Well<\/em> develops a rich vision of what scholars like Alun Howkins and Patrick Wright have referred to as \u2018deep England\u2019.\u00a0 As the opening credits roll, we follow the camera down a hedge-fringed country lane to the church which, one of the villagers proudly informs us, dates back to the thirteenth century.<\/p>\n

\"\"<\/p>\n

The whole of the rest of the film plays out in and around the village, against a soundtrack of perpetual birdsong.\u00a0 Although Bramley End is fictitious, all the exterior scenes were shot in the quintessentially picturesque Chilterns village of Turville.\u00a0 The windmill, a well-known local landmark, features prominently, as do the brick, tile and half-timbered cottages and the manor house.\u00a0 We look down on the village from above and what we see is the epitome of the idyllic \u2018South Country\u2019 version of rural England popularized by poets and artists from the mid-nineteenth century \u2013 a small, self-contained settlement, with no modern development, surrounded by lush green pastures, hedges and woods.<\/p>\n

\"\"<\/p>\n

As Howkins showed, South Country landscape representations carry powerful and generally conservative social and political messages.\u00a0 Went the Day Well<\/em> intends that we should take Bramley End as a microcosm of British society \u2013 everyone is here, from the poacher to the lady of the manor.\u00a0 Because a hamlet can plausibly be represented as a gemeinschaft<\/em> where everyone knows everyone else, society can be portrayed as cohesive and mutually supporting, inhabiting a shared social world.\u00a0 Everyone has their part to play and contributes to the common good: the most privileged character, Lady Fraser, sacrifices herself to save the village children from a hand grenade.\u00a0 This version of history is not necessarily wholly imaginary, but it is profoundly partial, casting a veil over centuries of social, political and religious division in rural communities, let alone British society more widely.<\/p>\n

Perhaps the most interesting aspect of Went the Day Well<\/em>, however, is that it interrogates and comes close to exploding (literally and metaphorically) one of the most fundamental of English landscape narratives: the contrast between a peaceful, harmonious rural homeland and a violent, exploitative foreign \u2018other\u2019, out of sight and out of mind.\u00a0 It was Edward Said\u2019s essay \u2018Jane Austen and Empire\u2019<\/a><\/span> that taught us to see how far the first depended on, at the same time as it systematically concealed, the second.\u00a0 Said showed that the domestic order Sir Thomas Bertram establishes at Mansfield Park is the correlate of the imperial order he has previously imposed on his slave plantation in Antigua, and that the civility of the one arises from the unpaid labour of the other.\u00a0 Yet Austen\u2019s novel dwells almost exclusively on the English setting \u2013 Antigua is pushed so far into the background that an inattentive reader might easily fail to notice it altogether.<\/p>\n

Said\u2019s perspective can be generalized to English rural landscapes in a wider sense.\u00a0 All of them are products of a history of exploitation, some more directly than others of course.\u00a0 The National Trust has recognized that it owns dozens of real-life Mansfield Parks and is seeking to address this through its Colonial Countryside project<\/a><\/span>, while English Heritage also commissioned research on the relationship between slave-owning and some of its properties<\/a><\/span>.\u00a0 Many country houses and landed estates did not draw wealth directly from slave plantations but these cannot be abstracted from the wider historical processes of which they were part either.\u00a0 The trophies, porcelain and furniture in the country houses and the church memorials to generals and admirals fallen in far-flung corners of the empire remind us of that, even if we knew nothing of enclosure or the abject poverty endured by generations of English rural workers who kept the landowners in their pomp.<\/p>\n

\"\"
Tomb of Admiral William Caldwell (d. 1718), Birtsmorton, Worcestershire<\/figcaption><\/figure>\n

How far the perceived beauty and peace of the English rural landscape (or, for that matter, of any landscape) must necessarily depend on a similar exclusion from consciousness of linked but incompatible realities, and how far this is historically and geographically contingent, is a question that requires far more careful and extended consideration than is possible in a short blog like this.\u00a0 But Went the Day Well<\/em> is a fascinating test case of what happens when the barriers that separate the peace of rural England from the displaced violence \u2018over there\u2019 are shattered.\u00a0 How far can the values associated with the first withstand direct exposure to the second, or subsequently be reconstituted?<\/p>\n

Ostensibly the film returns an optimistic answer.\u00a0 The main action unfolds in flashback, framed by a narrator-villager addressing the viewer from the churchyard, after the defeat of the German invasion.\u00a0 This provides a circular structure that brackets off the disturbing events in between, returning us in the closing sequence to the seamless rural tranquility of the opening.\u00a0 However, the detailed action of the film repeatedly subverts this complacent message. \u00a0One way in which it does so is by destabilizing the distinction between \u2018good\u2019 English and \u2018bad\u2019 Germans.\u00a0 We, like the villagers, believe the disguised Germans are English soldiers when we first encounter them (and, in a further twist, they are in fact of course English actors).\u00a0 Conversely, it is only part way through that we discover one of the villagers is a traitor working with the Germans.\u00a0 Just as the Germans commit ruthless acts of violence, so do the villagers.\u00a0 In one scene, a member of the English home guard explains to a disguised German how the village could best be defended from a German attack; later, the Germans use these dispositions to defend themselves from English attack.\u00a0 Since the Germans are wearing English army uniforms, when the attack materializes, it is difficult for the viewer to distinguish between attackers and defenders.<\/p>\n

\"\"Several of the villagers evidently struggle to maintain the distinction between precious English lives and expendable German lives too.\u00a0 The postmistress looks stricken after she has killed the German billeted on her, to whom she had just been talking in a confiding way.\u00a0 One of the Women\u2019s Land Army girls reacts similarly after shooting a German soldier dead.\u00a0 These responses emanate from the compassionate humanism the film celebrates as intrinsic to \u2018deep England\u2019, but they are quickly swept aside: the postmistress is killed within moments and the Land Girl told by her companion that they should compete to see how many Germans they can kill.<\/p>\n

Another way the details of Went the Day Well<\/em> undermine English pastoral is in the representation of war memorials, of which there are two in the film (and a third conspicuous by its absence).\u00a0 The significance of the WW1 memorial plaque on the outside wall of the church appears simple enough: it underlines the theme of self-sacrifice.\u00a0 For the rest of us, and future generations, to continue to enjoy the peace, beauty and contentment that Bramley End is meant to encapsulate, it is necessary that those called upon to defend England from her enemies should be prepared to give their lives.\u00a0 Rural war memorials are a prime example of the process of spatial dissociation identified by Said. Quietly set in a churchyard or on a village green, they serve to recuperate the violence of war and absorb it into pastoral peace.\u00a0 Like slave ownership in Mansfield Park, the violence signified by war memorials takes place elsewhere, in some distant land across the sea; only a faint echo reaches us from there.\u00a0 In the film, however, the promise implied by the WW1 memorial has proved hollow, since violence has terrifyingly broken through into the sanctuary of peace (a message underscored by the first killing in the film, of the vicar while officiating in his own church).<\/p>\n

\"\"<\/p>\n

The WW1 memorial invites comparison with the WW2 memorial that features prominently in the introductory and closing frame to the film.\u00a0 This is in the archetypical form of a churchyard cross \u2013 but startlingly it turns out to be a memorial to the Germans<\/em> killed during the battle (and so another example of the blurring of identities).\u00a0 Their deaths cannot be redeemed according to the same logic of self-sacrifice: they died, so the film has it, to destroy rather than maintain the British way of life.\u00a0 The recuperative pastoral of the village war memorial at best remains incomplete, perhaps even breaks down altogether.\u00a0 This is emphasized by the obtrusively raised mound under which the Germans lie buried, disrupting the level harmony of the churchyard.\u00a0 \u2018That\u2019s the only bit of England that they got\u2019, the narrator informs us proudly.\u00a0 Yet much of the consolation village war memorials offer derives from the tranquility of their setting. To insist on such an emphatic demarcation between the two \u2013 the wider pastoral landscape unavailable to the dead Germans – is also to admit that some wrongs and suffering are beyond the power of pastoral to encompass, thus narrowing and qualifying its redemptive claims.<\/p>\n

\"\"<\/p>\n

As the film closes, the narrator tells us that what he and those he speaks for are most proud of is the villagers who died to defend Bramley End, but no physical memorial to them is shown, no doubt because it would chime awkwardly with the churchyard cross commemorating the Germans.\u00a0 The promise that the sacrifice of those who died in war will never be forgotten is always, at least with respect to the individual, an exercise in wishful thinking, since all of us eventually are forgotten; here the promise seems even less adequate to the sacrifice than usual \u2013 words spoken into thin air.<\/p>\n

In these and other ways, Went the Day Well<\/em> is a surprisingly, if perhaps unwittingly, subversive film, exposing the foundations and calling into question the universality of some of the most influential narratives of English pastoralism.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Jeremy Burchardt Films offer distinctive and in some respects unique opportunities for representing landscape and, as scholars such as David Lowenthal, David Matless and Paul Readman have amply demonstrated,…Read More ><\/a><\/p>\n","protected":false},"author":334,"featured_media":396,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"__cvm_playback_settings":[],"__cvm_video_id":"","footnotes":""},"categories":[12],"tags":[25,29,27,26,28],"coauthors":[8],"class_list":["post-394","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-english-landscape","tag-film-narrative","tag-national-identity","tag-rurality","tag-world-war-2"],"acf":[],"yoast_head":"\nWartime narratives of the English landscape: rurality and national identity in Went the Day Well (1942) - 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