In contrast with what seemed like the senseless slaughter of World War I, people felt much more confident in celebrating Britain’s success in defeating Nazi Germany in the Second World War. The conflict was therefore imbued with a greater sense of clarity and moral purpose, even if we tend to forget about the efforts of the British army to preserve the empire in the Far East, and the country’s inadequate response to the plight of Europe’s Jews.
More importantly, whilst other countries had lain down their
arms in 1945, the conflict has raged on in British cinemas and living rooms
ever since. War movies were amongst the most successful films of the postwar
era: Casablanca, The Great Escape, The Dam Busters, The Longest Day, Where
Eagles Dare and The Dirty Dozen thrilled audiences at the time and have
continued to be regarded amongst the most popular and successful films of
modern times. More recently, films such as the The King’s Speech, Dunkirk and
Darkest Hour show that our appetite for the conflict has not diminished. In
contrast, the recent success of 1917 is a rare example of a successful film
about the First World War, a conflict that provides a less satisfying moral
narrative.
The Second World War is also one of few conflicts that has
spawned a wide range of TV comedies. Growing up in the 1990s, there were
usually repeats of classic comedies such as Dad’s Army, which remains popular
to this day and ‘Allo ‘Allo, which featured British actors doing terrible
impressions of German spies and members of the French resistance. One of my
favourite programmes of the time, now sadly forgotten, was ‘Goodnight
Sweetheart, in which Gary Sparrow, an ordinary Nineties man, discovers a secret
portal in his garden that takes him back to a London pub in the time of the
Blitz. The show captures the strange relationship between modern Britain and
the era of the Second World War. Early episodes of the programme highlighted
the differences between the 1940s and 1990s, with Gary Sparrow struggling to
adjust to the changes in dress, money, speech and cultural attitudes of people
in wartime London. However, these differences quickly fade away as Sparrow
leads a regular sign-song round the pub piano, chats up the barmaid and shares
in the challenges faced by Londoners in 1941.
In shows like Goodnight Sweetheart and Dad’s Army, we sense
that strong identification with the courage and determination of the civilian
population, whether they were Home Guard volunteers, ARP wardens, or black-market
traders, in the face of terrifying threat. The enemy itself was largely
invisible, usually only appearing overhead in the form of a deadly air raid.
But this sense of an invisible menace from across the Channel remained potent
in the imagination of the British people during my childhood, manifested in
increased prejudice against the German people, and a suspicion towards Europe
in general. When we laughed at Basil Fawlty’s increasingly zany attempts to
avoid ‘mentioning the war’ to his German guests, we recognised in ourselves an
enduring obsession. This was fuelled especially by the tabloid press, who in
the 1990s regularly covered encounters in European football and politics in the
1990s, as if this was simply another phase in an ongoing conflict stretching
back to 1914. Although we boasted that ‘football’s coming home’ when England
hosted the Euro 96 football tournament, we still viewed ourselves as the
outsiders when drawn to face Germany in the Semi-Final, and the Daily Mirror
could not resist using the language of popular war films on its front page.
When England lost the match, I remember feeling quite vividly that the result
was an historic injustice, and that the ‘bad guys’ had won.
EU correspondents in the 1990s wrote as if they were reporting on British army manoeuvres in a particularly hostile conflict zone.
One broadsheet columnist of the time was famous for his ability to make the
mundane details of EU trade negotiations sound like a thrilling wartime spy
movie: full of ‘plots’ and ‘traps’ laid by the ‘dastardly’ Europeans, and
urging British politicians to defend their liberty and freedom against these
threats. Having made a name for himself as a journalist in Brussels, he went on
to become a Conservative MP, Mayor of London and is now, of course, the
country’s Prime Minister.
We should be in no doubt that the way the Britain has
commemorated World War II has shaped how we see ourselves in the present day.
Images from the conflict continue to pop up in difficult times. During a
difficult stage of the Brexit negotiations last year, the Daily Mail printed a
famous cartoon published after the Dunkirk evacuation of 1940, in which a
defiant British soldier shakes his fist defiantly at Europe and vows to continue
the fight: ‘Very well alone’.
More famously, the ‘Keep Calm and Carry On’ poster devised in
1939, has been widely imitated ion the twenty-first century, appearing on
Tea-towels, mugs, items of clothing and, inevitably, memes on social media.
According to design historian Susannah Walker, the poster has become an
evocation of British stoicism: the "stiff upper lip",
self-discipline, fortitude and remaining calm in adversity. The success of the
poster owed much to the financial crash of 2008, and the need for an inspiring
message from the past in a time of crisis. Ironically, though, the poster was barely
used during the Second World War itself. The slogan was regarded as patronising
and divisive, given that wartime suffering was not easily distributed throughout
the country, so carrying on was much easier for some than for others, and
almost impossible for those whose house had been destroyed, and loved ones killed
or wounded. In our modern commemoration of the conflict, we tend to forget
about the real hardship, fear, suffering and doubt that ordinary people
experienced during the Second World war. Instead, we have mythologised the
conflict, remembering an unbreakable Blitz Spirit in which the British people’s
single-handed defiance of Hitler enabled them to triumph against the odds.
It is understandable why British people have found this myth
so persuasive and powerful over the last 75 years, but I believe that it is becoming
increasingly dangerous. If we do not understand the real reasons why Britain was
able to celebrate the defeat of Nazi Germany on VE Day, then we will learn the
wrong lessons from the conflict. In the final analysis, the war was a triumph of
strategic planning and international cooperation. Even in ‘its darkest hour’ in
1940, Britain was never alone. It still controlled one of the largest empires
in human history, and this provided crucial opportunities to hamper German
military efforts. More importantly, the entry of the Soviet Union and the
United States into the war in 1941 proved to be vital turning-points. Britain’s
contribution to the war remained important, but not because of its
much-mythologised ‘stiff upper lip’. Instead Britain contributed vital technological
innovations to the preparations for D-Day and the assault against Germany on
the western Front, creating the famous floating harbours that supported the
D-Day landings, and constructing the PLUTO fuel pipeline that sustained the
military operations of the allied forces until the German surrender in May
1945.
The challenges that we face in the twenty-first are complex
and global in nature. Britain has spent too much of the last 75 years believing
that a retreat into ‘splendid isolation’ will insulate it from these
challenges, our safety assured by our superior national character, our values
and our inherent righteousness. As we are being reminded once again in 2020,
the world doesn’t work like that. A spirit of plucky defiance and manic improvisation
is no substitute for strategic planning. Leadership requires attention to
detail and courage, not just bombastic speeches. If we believe that Britain is
exceptional, we may forget that we are also vulnerable. As the country marks VE
Day on Friday, take time to draw inspiration from a conflict in which the
British people faced a terrible threat, and overcame it with common purpose,
international alliances and technological innovation. And then – look forwards.