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Hope and Glory

Reviewed by Anna E. Schoenfeld, Pepperdine University

One might expect an autobiographical account of World War II experiences to be a solemn affair. However, John Boorman's childhood recollections of the War in England in "Hope and Glory" are anything but solemn. Boorman writes, produces and directs a film that is both funny and idyllic from its childhood perspective, yet still manages to capture the problems and horrors of the war on the home front. More importantly, "Hope and Glory" presents a realistic view of a boy maturing during his middle childhood.

Boorman portrays his childhood memories through the eyes of young Bill Rohan and his family in a London suburb. From the onset of the film, Boorman gives clues that Bill is already a perceptive, curious, even mature eight-year-old. Unlike the other rowdy boys, Bill is actually watching the main feature in the opening sequence of the film. It is only when another boy picks on his younger sister that he joins in. On the Sunday afternoon that war is declared, Bill is immersed in his imaginary medieval war and yet still notices the sudden quieting of lawnmowers. As he listens to the broadcast of the war declaration, he is aware that it is a serious matter, though he can't imagine why. His little sister, Sue, is singing the National Anthem. "Stop it!" he scolds. "She just sings it. She doesn't even know what it means." He notices his mother's tears.

All of this occurs in the first ten minutes of the film. We get an idea that Bill is very perceptive and watchful, yet also very active imaginatively. He collects shrapnel, plays with his toy soldiers, listens to his wireless, and dreams about the war.

Bill is in the period of middle childhood, which will shape his personality and social development. Self-concept and self-esteem are important aspects of growth during this middle childhood. A child becomes more aware of his own identity and other people's views of himself. "Don't worry," he assures Sue after watching an argument between their parents. "We're not going to be like them when we grow up. We're not even like that now." Later, as his mom changes her mind about sending him and Sue to Australia and makes a big scene to get them back, he is extremely embarrassed. He is worried about how he looks in other people's eyes. "In front of all these people!" he exclaims. In another incident, the Rohans' house burns down and Bill tells his mother he doesn't mind so much about the house, he just hates all the people watching them.

Bill also becomes more aware of other people's feelings. Instead of bragging about Pauline's mother's death to everyone, as one boy does, Bill feels some suspicion of sympathy for her. He is unsure how to react though , so he pushes his little sister forward to ask her to come play. So it is obvious Bill is becoming aware and concerned not only about what people think about him, but also how he thinks about others.

Middle childhood is also characterized by a physical growth and an awareness of the growth in others. Perhaps because of his family situation of two sisters, a mother and three aunts, and a father away at war, Bill's awareness of females is both heightened and confused. Poor Bill has to run the gauntlet of female relatives and has to deal with the tearful and sporadic emotions of his mother and his coming-of-age sister, Dawn. He watches fights between them with a shake of his head and the rolling of his eyes. "Girls!" he must be thinking to himself. Yet when it comes to matters about sex, Bill is embarrassed and shy. When he hears groans and giggles coming from the rubble he is uncomfortable and pauses only momentarily before running off. In a later scene, Bill actually catches Dawn and her boyfriend Bruce beneath the rubble. His first reaction is to yell "Fuck!" to alert his friends and then to throw rocks at them. He is quick to disclaim his sister's identity when one boy recognizes Dawn. When Bill and Sue watch Dawn and Bruce later through the bedroom keyhole, it is Sue who unabashedly informs Bill that they are not doing it right. When Mum and Dad do it, she relates, he's on top and they don't move so much. And when Pauline agrees to give the boys 'a show', all of Bill's friends look, but he hesitates and stands back. Later, Dawn gives birth, and while little Sue curiously inquires about the sticky stuff, Bill passes out. Even on the movie screen, Bill can't help but cover his eyes in disgust during a mushy scene.

Middle childhood is also characterized by a shift from the attention of parents to peers. The peer group serves as testing ground for anti-parental behavior. Group are often concerned with cursing and brave acts, and form elite memberships. In "Hope and Glory" a group of eight and nine-year-olds form a wrecking crew in the rubble, smashing anything in their path and playing spy amid the ruins. The leader of the gang sips a glass of sherry, hands out jewels from his hoard, and plays around with live ammunition. Bill is drawn into the group when he trespasses in their territory looking for shrapnel. He quickly becomes a member by telling a secret and learning the swear words, "Bugger off you bloody sod." Bill soon finds being a member isn't all it's cracked up to be. Shortly after his family's house burns down, the members feel no compunction in turning his house into new wrecking territory. Bill picks a fight with the leader, but the boys make fun of him and flee.

The fire marks an important turning point in Bill's life. Not only do his friends turn against him, but his toy soldiers melt. Nothing in the war openly affects Bill as much as the loss of his soldiers. Perhaps this is symbolic in the shedding of Bill's early childhood toward later childhood. This move toward later childhood is reinforced with the Rohan's move to their eccentric Grandfather's place for the summer. The scene changes. They are no longer in the city suburbs, but rather in the peaceful country along the Thames. For Bill, the change in setting serves as a springboard for what Erikson calls the Industry vs. Inferiority conflict of middle childhood. In this period, children learn to value achievement and new skills, which are necessary to form a positive view of oneself. Though this often takes place in a school environment, Bill learns this through the river, the rural setting, and the prodding of his Grandfather. He develops new skills and competence in boating and fishing, cricket, and even photography. One has the feeling that the crew filming along the river will be visited often by the future Boorman. Most importantly, Bill is learning about independence and personal identity, some of the characteristics of the next stage of life. Bill successfully realizes Erikson's fourth stage, and his middle childhood is steadily progressing toward adolescence.

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