The military feelings are too deeply grounded to abdicate their place among our ideals until better substitutes are offered than the glory and shame that come to nations as well as to individuals from the ups and downs of politics and the vicissitudes of trade. There is something highly paradoxical in the modern man's relation to war. Ask all our millions, north and south, whether they would vote now were such a thing possible to have our war for the Union expunged from history, and the record of a peaceful transition to the present time substituted for that of its marches and battles, and probably hardly a handful of eccentrics would say yes. Those ancestors, those efforts, those memories and legends, are the most ideal part of what we now own together, a sacred spiritual possession worth more than all the blood poured out.
To prepare for the role, Lennon had his hair cut down, contrasting sharply with his mop-top image. During filming, he started wearing round "granny-like" glasses, which he continued to sport nearly constantly for the remainder of his life, becoming one of his most distinctive trademarks.
A photo of Lennon in character as Gripweed found its way into many print publications, including the front page of the first issue of Rolling Stonereleased in November From 28 to 29 DecemberLennon recorded all post-synchronisation work for his character at Twickenham Film Studios in London, England.
The film's release was delayed by six months as Richard Lester went on to work on Petuliashortly after completing How I Won the War. Narrative and themes[ edit ] In writing the script, the author, Charles Woodborrowed themes and dialogue from his surreal and bitterly dark and banned anti-war play Dingo.
In particular the character of the spectral clown 'Juniper' is closely modelled on the Camp Comic from the play, who likewise uses a blackly comic style to ridicule the fatuous glorification of war.
Goodbody narrates the film retrospectively, more or less, while in conversation with his German officer captor, 'Odlebog', at the Rhine bridgehead in From their duologue emerges another key source of subversion — the two officers are in fact united in their class attitudes and officer-status contempt for and ignorance of their men.
While they admit that the question of the massacre of Jews might divide them, they equally admit that it is not of prime concern to either of them. Goodbody's jingoistic patriotism finally relents when he accepts his German counterpart's accusation of being, in principle, a Fascist. They then resolve to settle their disagreements on a commercial basis Odlebog proposes selling Goodbody the last intact bridge over the Rhine ; in the novel the bridge is identified as that at Remagen which could be construed as a satire on unethical business practices and capitalism.
This sequence also appears in the novel. Fascism amongst the British is previously mentioned when Gripweed Lennon's character is revealed to be a former follower of Oswald Mosley and the British Union of Fasciststhough Colonel Grapple played by Michael Hordern sees nothing for Gripweed to be embarrassed about, stressing that "Fascism is something you grow out of".
One monologue in the film concerns Musketeer Juniper's lament — while impersonating a high-ranked officer — about how officer material is drawn from the working and lower class, and not as it used to be from the feudal aristocracy.
The officers chase wine and glory, the soldiers chase sex and evade the enemy. The model is a regular infantry regiment forced, in wartime, to accept temporarily commissioned officers like Goodbody into its number, as well as returning reservists called back into service.
In both world wars this has provided a huge bone of contention for regular regiments, where the exclusive esprit de corps is highly valued and safeguarded. In the film, the regiment is presented as a cavalry regiment armoured with tanks or light armour, such as the half-tracks that has been adapted to "an independent role as infantry".
The platoon of the novel has become a troopa Cavalry designation. None of these features come from the novel, such as the use of half-tracks and Transom's appointment as "Corporal of Musket", which suggests the cavalry title Corporal of Horse. These aspects are most likely due to the screenwriter Charles Wood being a former regular army cavalryman.
It follows an authentic chronology of the war consistent with one of the long-serving regular infantry units — for example of the 4th Infantry Division — such as the 2nd Royal Fusiliersincluding unlike the film the campaigns in Italy and Greece. Rather than surrealism the novel offers some quite chillingly vivid accounts of Tunis and Cassino.
Patrick Ryan served as an infantry and then a reconnaissance officer in the war. Throughout, the author's bitterness at the pointlessness of war, and the battle of class interests in the hierarchy, are common to the film, as are most of the characters though the novel predictably includes many more than the film.
Comparison with Candide[ edit ] It has been pointed out, including by Leslie Halliwellthat there are echoes of Voltaire 's Candide in the story, especially in the continual, improbable, inexplicable reappearance of Colonel Grapple.
Only the second of these recurring scenes is found in the novel, and in this case, unlike Candide, the optimism always comes from the innocent Goodbody Candidenever Clapper.Simone Gorrindo is a Senior Editor at Vela.
Her work has appeared or is fortthcoming in The New York Times, The Christian Science Monitor, The Best Women’s Travel . The Vietnam War in Literature and Film The United States's involvement in the Vietnam War, which ended in April, when the last American soldiers were withdrawn, has been the subject of an.
The largest collection of literature study guides, lesson plans & educational resources for students & teachers. "Hynes is a brilliant critic, both of the literature of war and its myths. In this, the writer he most resembles is Paul FussellBeneath Hynes’s many local insights there is a constant story, of the peculiar and shifting shape of modern wars, for war has become increasingly metaphorical: we speak of the ‘war on terror’ and ‘culture wars’.
Introduction. The literature of war has existed since the first literary texts were written. Scholars have been quick to acknowledge that war is a dominant force in the works of the three earliest cultures: the Greeks, the Romans, and the Hebrews. The Chocolate War is a novel by Robert Cormier that was first published in