During the Second World War, the British movie industry produced a number of films concerning the war, all of which were, by necessity, heavily myth-laden and propagandised. Foremost among these productions was The First of the Few, which was the biggest grossing film of 1942. In the immediate post-war period, to start with there were no British aviation war films. The first to be released was Angels One Five in 1952. It was well-received, confirming that the Battle of Britain was a commercial commodity. Over the next few years, many famous war heroes published their memoirs, or had books written about them, including the legless Group Captain Douglas Bader, whose story, Reach for the Sky, told by Paul Brickhill, became a best-seller in 1956. It was followed a year later by the film of the same name, which, starring Kenneth More, dominated that year’s box office. The early Battle of Britain films had tended to focus upon the story of individuals, not the bigger picture. That changed with the release of the star-studded epic Battle of Britain in 1969. Using real aircraft, the film, produced in color and on a far larger scale than had been seen on film before, was notable for its spectacular flying sequences. Between the release of Reach for the Sky and Battle of Britain, however, much had changed for modern Britain. For a variety of reasons many felt that the story of the nation’s pivotal moment in the Second World War was something best buried and forgotten. Indeed, the overall box office reaction to Battle of Britain reinforced this view – all of which might explain why it was the last big screen treatment of this topic for many years. It was during the Battle of Britain’s seventieth anniversary year that the subject returned to the nation's screens when Matthew Wightman’s docudrama First Light was first broadcast. Essentially a serialisation of Spitfire pilot Geoffrey Wellum’s best-selling memoir of the same title, Wightman cleverly combined clips of Wellum as an old man talking about the past with his new drama footage. The series is, in the opinion of the author, the best portrayal of an individual’s Battle of Britain experience to have been made. In this fascinating exploration of the Battle of Britain on the big screen, renowned historian and author Dilip Sarkar examines the popular memory and myths of each of these productions and delves into the arguments between historians and the filmmakers. Just how true to the events of the summer of 1940 are they, and how much have they added to the historical record of ‘The Finest Hour’?

Released in 1969, the film Battle of Britain went on to become one of the most iconic war movies ever produced. The film drew many respected British actors to accept roles as key figures of the battle, including Sir Laurence Olivier as Hugh Dowding and Trevor Howard as Keith Park. It also starred Michael Caine, Christopher Plummer and Robert Shaw as squadron leaders. As well as its large all-star international cast, the film was notable for its spectacular flying sequences which were on a far grander scale than anything that had been seen on film before. At the time of its release, Battle of Britain was singled out for its efforts to portray the events of the summer of 1940 in great accuracy. To achieve this, Battle of Britain veterans such as Group Captain Tom Gleave, Wing Commander Robert Stanford Tuck, Wing Commander Douglas Bader, Squadron Leader Bolesław Drobiński and Luftwaffe General Adolf Galland were all involved as consultants. This detailed description of the making of the film is supported by a mouth-watering selection of pictures that were taken during the production stages. The images cover not only the many vintage aircraft used in the film, but also the airfields, the actors, and even the merchandise which accompanied the film’s release in 1969 – plus a whole lot more. There are numerous air-to-air shots of the Spitfires, Messerschmitts, Hurricanes and Heinkels that were brought together for the film. There are also images that capture the moment that Battle of Britain veterans, some of whom were acting as consultants, visited the sets. Interviews with people who worked on the film, such as Hamish Mahaddie, John Blake and Ron Goodwin, among others, bring the story to life.

This new, updated edition of The Battle of Britain on Screen examines in depth the origins, development and reception of the major dramatic screen representations of 'The Few' in the Battle of Britain produced over the past 75 years. Paul MacKenzie explores both continuity and change in the presentation of a wartime event that acquired and retains near-mythical dimensions in popular consciousness and has been represented many times in feature films and television dramas. Alongside relevant technical developments, the book also examines the social, cultural, and political changes occurring in the second half of the 20th century and first decade of current century that helped shape how the battle came to be framed dramatically. This edition contains a new chapter looking at the portrayal of the Battle of Britain at the time of its 70th anniversary. Through its perceptive demonstration of how our memory of the battle has been constantly reshaped through film and television, The Battle of Britain on Screen provides students of the Second World War, 20th-century Britain and film history with a thorough and complex understanding of an iconic historical event.

An account of the aircraft, pilots, tactics, and results of the three-month Battle of Britain in 1940.

Look closely behind the lives of the stars who appeared in a host of legendary war films and discover how memories of their real-life experiences in the armed forces were haunted with heartbreak and yet filled with extraordinary heroism. Just what did America’s most decorated soldier Audie Murphy go through in battle which led him to star as himself in the classic war film, To Hell and Back? When the Japanese attacked Pearl Harbor in December 1941, Murphy joined the US Army aged just 17. He went on to fight at Anzio, the Colmar Pocket, and Nuremberg. And for single-handedly holding off an enemy attack he was awarded the Congressional Medal of Honor. But Murphy’s military and celebrity stardom did little to extinguish the pain of his private battle to fit in to a new post-war world he perceived as disappointing, shallow and unfulfilling. Tormented by PTSD Murphy was a man unable to escape from his past. Only the great director and decorated wartime documentary maker John Huston gained Murphy’s true respect. When war broke out on 3 September 1939, a number of British stars, including Laurence Olivier, his future wife Vivien Leigh, and David Niven, were in the United States under contract to the Hollywood Studios. Keen not to ‘shirk their duties at home’, and against advice from the British Consul, they made their way back to Blighty. Olivier joined the Royal Navy’s Fleet Air Arm as a pilot. Then with Churchill’s approval he directed and starred in powerful propaganda films, including Shakespeare’s Henry V. In 1943 the beautiful Vivien Leigh ruined her health by enduring the brutalities of the North African climate to entertain the troops in the desert. Meantime, Dirk Bogarde was a British Army intelligence officer seconded to the pioneering RAF Medmenham where he studied aerial photographs and pinpointed enemy targets for Bomber Command. As Lieutenant van den Bogaerde he was posted to France just after D-Day. He went on to star in many leading war films such as Appointment in London (1953) and King and Country (1964). Years later in 1991 Sir Dirk Bogarde was interviewed by the author of this book. He had witnessed the horrors of Belsen in April 1945 and said it changed his attitude to life forever. In this book, the author honors the real-life stories of some big screen idols who showed true grit behind the glamor.

Adolph Gysbert Malan was born in Wellington, South Africa. A natural leader and driven individual with a totally positive outlook, aged fourteen Malan became an officer cadet in the South African Merchant Navy, before being commissioned into the Royal Navy Reserve. Well-travelled and worldly-wise, aged twenty-five the intrepid adventurer applied for a Short Service Commission in the RAF. Universally known as ‘Sailor’ in the RAF, Malan became a fighter pilot. Shortly after war was declared, Malan was involved in the infamous ‘Battle of Barking Creek’, in which 74 Squadron mistakenly destroyed friendly Hurricanes. Then, over Dunkirk in May 1940, Malan’s exceptional ability was immediately demonstrated in combat and a string of confirmed aerial victories rapidly accumulated. The following month, Malan scored the Spitfire’s first nocturnal kill. By August 1940 he was commanding 74 Squadron, which he led with great distinction during the Battle of Britain. In March 1941, Malan was promoted and became the first Wing Commander (Flying) at Biggin Hill, leading the three-squadron-strong Spitfire wing during operations over northern France. After a break from operations, Malan went on to command a succession of fighter training units, passing on his tactical genius and experience, and producing his famous ‘Ten Rules of Air Fighting’ which are still cited today. By the war’s end, Group Captain Malan was the RAF’s tenth top-scoring fighter pilot. Leaving the RAF in 1945 and returning to South Africa, he was disgusted by Apartheid and founded the ‘Torch Commando’ of ex-servicemen against this appalling racist policy. This part of Malan’s life is equally as inspirational, in fact, as his wartime service, and actually tells us more about the man than just his RAF record. Tragically, in 1963, he died, prematurely, aged just fifty-three, of Parkinson’s. Written with the support of the Malan family, this biography is the full story of a remarkable airman and politician.

The Big Screen tells the enthralling story of the movies: their rise and spread, their remarkable influence over us, and the technology that made the screen—smaller now, but ever more ubiquitous—as important as the images it carries. The Big Screen is not another history of the movies. Rather, it is a wide-ranging narrative about the movies and their signal role in modern life. At first, film was a waking dream, the gift of appearance delivered for a nickel to huddled masses sitting in the dark. But soon, and abruptly, movies began transforming our societies and our perceptions of the world. The celebrated film authority David Thomson takes us around the globe, through time, and across many media—moving from Eadweard Muybridge to Steve Jobs, from Sunrise to I Love Lucy, from John Wayne to George Clooney, from television commercials to streaming video—to tell the complex, gripping, paradoxical story of the movies. He tracks the ways we were initially enchanted by movies as imitations of life—the stories, the stars, the look—and how we allowed them to show us how to live. At the same time, movies, offering a seductive escape from everyday reality and its responsibilities, have made it possible for us to evade life altogether. The entranced audience has become a model for powerless and anxiety-ridden citizens trying to pursue happiness and dodge terror by sitting quietly in a dark room. Does the big screen take us out into the world, or merely mesmerize us? That is Thomson's question in this grand adventure of a book. Books about the movies are often aimed at film buffs, but this passionate and provocative feat of storytelling is vital to anyone trying to make sense of the age of screens—the age that, more than ever, we are living in.