Why no dramas on British anti-WWI activists?

Tom Hiddleston recently played two "gods" - Loki, in "Thor" and the upcoming "The Avengers"; and F. Scott Fitzgerald in Woody Allen's "Midnight in Paris." Dreamworks

(TomDispatch) Well in advance of the 2014 centennial of the beginning of "the war to end all wars," the First World War is suddenly everywhere in our lives. Stephen Spielberg's "War Horse" opened on 2,376 movie screens and has collected six Oscar nominations (but didn't win any Academy Awards Sunday night), while the hugely successful play it's based on is still packing in the crowds in New York and a second production is being readied to tour the country.

In addition, the must-watch TV soap opera of the last two months, "Downton Abbey," has just concluded its season on an unexpected kiss. In seven episodes, its upstairs-downstairs world of forbidden love and dynastic troubles took American viewers from mid-war, 1916, beyond the Armistice, with the venerable Abbey itself turned into a convalescent hospital for wounded troops. Other dramas about the 1914-1918 war are on the way, among them an HBO-BBC miniseries based on Ford Madox Ford's "Parade's End" quartet of novels, and a TV adaptation of Sebastian Faulks's novel "Birdsong" from an NBC-backed production company.

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In truth, there's nothing new in this. Filmmakers and novelists have long been fascinated by the way the optimistic, sunlit, pre-1914 Europe of emperors in plumed helmets and hussars on parade so quickly turned into a mass slaughterhouse on an unprecedented scale. And there are good reasons to look at the First World War carefully and closely.

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After all, it was responsible for the deaths of some nine million soldiers and an even larger number of civilians. It helped ignite the Armenian genocide and the Russian Revolution, left large swaths of Europe in smoldering ruins, and remade the world for the worse in almost every conceivable way -- above all, by laying the groundwork for a second and even more deadly, even more global war.

There are good reasons as well for us to be particularly haunted by what happened in those war years to the country that figures in all four of these film and TV productions: Britain. In 1914, that nation was at the apex of glory, the unquestioned global superpower, ruling over the largest empire the world had ever seen. Four and a half years later its national debt had increased tenfold, more than 720,000 British soldiers were dead, and hundreds of thousands more seriously wounded, many of them missing arms, legs, eyes, genitals.

The toll fell particularly heavily on the educated classes that supplied the young lieutenants and captains who led their troops out of the trenches and into murderous machine-gun fire. To give but a single stunning example, of the men who graduated from Oxford in 1913, 31% were killed.

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Yet curiously, for all the spectacle of boy and horse, thundering cavalry charges, muddy trenches, and wartime love and loss, the makers of "War Horse," "Downton Abbey" and -- I have no doubt -- the similar productions we'll soon be watching largely skip over the greatest moral drama of those years of conflict, one that continues to echo in our own time of costly and needless wars. They do so by leaving out part of the cast of characters of that moment. The First World War was not just a battle between rival armies, but also a powerful, if one-sided, battle between those who assumed the war was a noble crusade and those who thought it absolute madness.

The war's opponents went to jail in many countries. There were more than 500 conscientious objectors imprisoned in the United States in those years, for example, plus others jailed for speaking out against joining the conflict. Eugene V. Debs had known prison from his time as a railway union leader, but he spent far longer behind bars -- more than two years -- for urging American men to resist the draft. Convicted of sedition, he was still in his cell at the federal penitentiary in Atlanta in November 1920 when, long after the war ended, he received nearly a million votes as the Socialist candidate for President.

One American protest against the war turned to tragedy when, in 1917, Oklahoma police arrested nearly 500 draft resisters -- white, black, and Native American -- taking part in what they called the Green Corn Rebellion against "a rich man's war, poor man's fight." Three were killed and many injured.

War resisters were also thrown in jail in Germany and Russia. But the country with the largest and best organized antiwar movement -- and here's where the creators of those film and TV costume dramas so beloved by Anglophile American audiences miss a crucial opportunity -- was Britain.

The main reason opposition to the war proved relatively strong there was simple enough: in 1914, the island nation had not been attacked. German invaders marched into France and Belgium, but Germany hoped Britain would stay out of the war. And so did some Britons. When their country joined the fighting on the grounds that Germany had violated Belgian neutrality, a vocal minority continued to insist that jumping into a quarrel among other countries was a disastrous mistake.

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