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Read more about The Battles of Coronel and Falkland Islands (1927)
If you missed the London Film Festival gala screening of The Battles of Coronel and Falkland Islands last month, and it isn’t showing at a cinema near you, and you can’t wait for the home video release in February 2015 … well all is not lost. Walter Summers’ naval epic is avilable on the BFIplayer, in the comfort of your own computer, and you can rent it for just £10, or £8.50 for BFI members.
But what is more, from 11.02am on Tuesday 11 November 2014, for 24 hours, streaming The Battles of Coronel and Falkland Islands is totally, delightfully free.
This article contains spoilers, though as the films discussed deal with historical events, we hope no one will be too disappointed.
In 1927, as the flood of war-themed films identified by critic Caroline Lejeune the previous year developed into a torrent, two British companies were drawing on the legacy of British Instructional Films’ (BIF) war reconstruction series. Both The Battles of Coronel and Falkland Islands and The Somme (MA Wetherell) could claim to be legitimate heirs to the series. The former was directed by Walter Summers and produced by Harry Bruce Woolfe, while the latter shared a number of personnel with BIF’s other productions including its producer, E Gordon Craig.
In their release strategies, too, the two films followed the model of their predecessors – The Somme opened at the Marble Arch Pavilion on 5 September for an exclusive run, while The Battles of Coronel and Falklands Islands was screened privately for the royal family at Balmoral before opening at the New Gallery on 15 September. These openings were announced together in the press coverage, implying a parallel between the two films. Both films went on general release during Armistice week, where they competed with a number of other British films with war themes, including Remembrance (Bert Wynne, 1927) and Roses of Picardy (Maurice Elvey, 1927). In the premier London houses, they were succeeded by further exclusive runs of new war dramas, Blighty (Adrian Brunel, 1927) replacing The Somme at Marble Arch, and Land of Hope and Glory (Harley Knoles, 1927) in the Plaza, Regent Street.
Despite these similarities, it is nevertheless possible to identify divergent strategies in the two films. The self-conscious use of formal moments of remembrance evident in the 1925 Ypres (Walter Summers) was incorporated into a number of the fictional war dramas, including Remembrance, Blighty and Land of Hope and Glory. The balance of drama and documentary elements continued to shift, and both The Somme and Coronel and Falklands develop the more dramatic shooting structure evident in Mons (Walter Summers, 1926), although in different directions. Mindful of the criticisms of Mons, director MA Wetherell re-instated the diagram elements of earlier films in his explanation of the overall strategy of The Somme (a decision which earned him praise from a number of reviewers), while Summers took advantage of the relatively contained story of Coronel and Falklands to offer a film much more clearly driven by the narrative conventions of fiction film-making. As part of this, the exploits of Victoria Cross (VC) winners – so consistent an element in all of the previous films – were dropped entirely from Coronel and Falklands, which offers instead a much clearer identification with motives and inner emotions of the captains of both the British and German ships, conveyed through classical editing.