My immediate thought here is that over 100 years
capturing events such as this have gone full circle – we are back
to one person and his kit trying to see the action. It also strikes
me as someone who is so familiar with activity on the Western Front
and action in the trenches that he misses much of the key action:
he cannot film at night, nor can he get in amongst the action, nor
of course is there any sound. Colour adds clarity as you can
differentiate more of the detail. In any one day at the end of June
and early July, the months that interest me, how much did his
cameras see? An hour one morning, a couple the following afternoon?
It is worth thinking how much wad going on when he was mot turning
the film through the camera. The kit was cumbersome and heavy. It
weighed 5 stone. Then there were cannisters of film he strung
around his neck. He has a canny turn of phrase. He describes the
Howitzers he films as a ‘horrible frog squatting on its haunches’.
p120. I wonder if the cameraman has as much of a story to tell
given the difficulties and dangers he must face getting into
position. There are many times when he describes what he hadn’t the
means to record: the frying bacon, the boiling water, the chat
between soldiers … laughing, swaering and humming songs. p132
What does war really mean? Is this a question such filmmaking hoped
to answer. There appears to be a niavety about the entire
I’m familiar with The Battle of the Somme footage so am delighted that it is brought to life by Malins’s words describing people and events before, during and after his bouts of filming. The dressing station sounds far more horrific than he feels. He must surely have fekt sensitive about filming people as they died.