Every soldier going to war has left something behind with the knowledge they may never return. Max Mason’s film ‘Their War’ takes this fact and, along with the main characters, makes us ask the question; “For what?” By showing two sides of the story, Mason communicates the similarities between the Allied soldiers and the Central Powers. On a human level, away from the governments and their war rooms, the two men are fundamentally similar. They share the same anxieties, hopes and fears.
Opening with glimpses into the lives of Arthur Jefferies (Hamish Riddle) and Nikolaus Seifert (Des Carney), the film presents an equilibrium on the brink of being thrown into the unknown. Both men have wives; Arthur and Mary (Katharine Orchard) are expecting their first child. The visuals in the first scenes are characterised by a haze that brings softness to the images. This gives a retrospective feel to the action, as if we are actually seeing the memories of the soldiers while they are away at battle. Another interesting aspect of the visual style in the opening scene is its similarities with the look of old photographs – perhaps like the treasured ones that soldiers so often carried with them during the conflicts. With this theme in mind, the equilibrium that is contained within the photograph of Jefferies wife, for example, is brought to life for us to compare with the horrors of trench warfare.
In period films, the mise-en-scene is key to securing realism and production designer Collette Creary-Myers has triumphed here. ‘Their War’ executes all aspects flawlessly in creating a believable and immersive depiction of the physical and moral struggles of World War One. The costumes (Jo Singer) and locations (Rich Ruck) fit together perfectly and are both complimented by Paddy Bartram’s photography. The several handheld shots plunge us into the action without escape and we become one with the scene. Another, more subtle, addition to the realism in ‘Their War’ is the use of sound. The sound effects from battle are expected but it is the use of non-diegetic sound (or rather, the lack of) that is perhaps most effective.
Simone Cilio has created a beautiful and respectful soundtrack with gentle melodies and low strings when tension is building. However, the use of this music is mostly limited to transitioning scenes. For example, the lead into the attack on the German trench is accompanied by the lower strings but as soon as Captain Hornshaw (Benjamin Hartley) begins to give an overview of their tactics, the music fades away. This means the audience are forced to confront a sickening silence, only interrupted by the soldiers’ nervous footsteps. By cutting off non-diegetic sound, there is no relief for the audience who must now hear only what the soldiers hear; there are no musical cues to suggest heroism or to forewarn us of danger. This techniques is one developed in Spielberg’s ‘Saving Private Ryan’, leading to one of John Williams’ shortest film scores. The Omaha Beach scene is one of the most realistic depictions of combat in film and the emphasis on sound effects is terrifying because of the realism it generates. ‘Their War’ marks a similar achievement in film without the $12 million budget that was used to create the D-Day landing in ‘Saving Private Ryan’.
In Spielberg’s film, the audience are shocked by the gunning down of American soldiers as soon as the doors of the landing craft dropped. The sudden deaths of hundreds of men, many of which never even made it to the beach. Masons film, however, depicts World War One when close quarters combat was more often utilised. This leads to a more intimate, suffocating experience for the audience. The struggle between Arthur and Nikolaus is made more emotional through to their physical closeness as we know that they are not so different from each other. Yet the nature of war means they find themselves in a ‘kill or be killed’ situation which neutralises any feelings of benignity.
A lot is said in ‘Their War’ without actually saying anything which I think is indicative of great film. Captain Hornshaw casts a glance at his men before they charge and you can tell he is wondering how many will survive, what they have sacrificed. Nikolaus questions how this can be his duty. A telegram and a baby’s cry evoke incomprehensible emotions. A letter: two words ‘Forgive Me’, embody an act of humanity in the most inhumane times.
Watch the trailer for ‘Their War’ below.
More information at https://www.theirwarfilm.com/home