ADOLF HITLER: MY PART IN HIS DOWNFALL
(1973)
In 1973
United Artists took Spike Milligan’s hugely successful first volume of war
memoirs and brought it to the big screen. Although every effort was made to
bolster its chances of success, the film doesn’t quite work but is by no means
a failure.
In choosing
Norman Cohen as director (and co-writer along with Spike and Johnny Byrne), the
studio made use of his WWII comedy expertise in having directed the film
transition of DAD’S ARMY. They also drafted in Spike to play his own father,
Jim Dale, my favourite member of the CARRY ON team, to play the young Spike
(real name ‘Terence’), as well as another alumni from that series, Bill
Maynard, as the Drill Sergeant.
The film
follows the book’s plot in focusing on Spike’s younger days - from being called
up following the outbreak of war through his basic training and closing with
his unit train-bound to a foreign battlefield. Somehow the sublimely funny
surrealist wit of his writing doesn’t easily translate to the screen. Maybe
because in his autobiography Spike almost creates his own slightly off-kilter
world. You’re never quite sure how much of it is true, yet where he’s woven in
invented one-liners and situations it doesn’t matter - it all blends together
into its own hugely entertaining reality. As a movie though, unlike CATCH 22
whose overall tone is consistently surreal and dark allowing the actors to
simply play the absurdities of war straight-faced to earn the laughs, ADOLF
HITLER is set in a recognisable ordinariness. This backdrop means that Dale’s quick
verbal ripostes make him sometimes stand out as a comedian doing shtick rather
than being integrated believably into the story. Often, he makes a quip and
ends it as if expecting a ‘ba-dum-bah’ response from the band when you’d really
like his charm to be a little more relaxed and real to match the setting.
Dale’s
infectious energy and comic physical dexterity sit better in the physical
scenes, such as in the boxing ring and the exertions of the platoon’s five mile
run. Where the film and he also seem more secure is in the serious scenes. Like
the book, it manages to shift gears into sombre moments well. This is where the
grounded reality works in its favour. Having slipped the boys into the
barrack-room life away from home deceptively easily, gradually the uglier side
of war rears its head. A crashed German pilot hints at mortality and amid the
Sergeant’s order to loot the body before the authorities arrive, Spike’s sense
of humour and repartee temporarily desert him. Later, Geoffrey Hughes (later to
become a household name in both CORONATION STREET and KEEPING UP APPEARANCES)
has a powerful scene shambling into the barracks numb with grief at the news of
his whole family being wiped out in a bombing raid.
ADOLF HITLER
benefits from another notable connection to DAD’S ARMY with a more benign turn
as a commanding officer from Arthur Lowe, who gets to pay tribute as in the
previous film to the quality of the British service personnel. He gives the
film dignity and gravitas as well. As the soldiers carouse in preparation for
shipping out, his second in command remarks hopefully that it could be a good
war. Lowe touchingly replies: “It will
be, Colin. For some of us”. There is perhaps too much reliance on that
much-loved sitcom on discovering that the last act of this film is a copy of
that spin-off movie’s plot: an inter-platoon war game between Spike’s 56th
Heavy Artillery and the 2nd Scottish Highlanders, botched by his men
capturing Lowe instead of the enemy commander.
Spike
Milligan and Pat Coombs book-end the film playing his own parents, Spike acting
in that stiff, slightly expressionist style which again jars against the
naturalism elsewhere, although he has some welcome absurdist moments such as
enjoying ‘Terence’s homecoming meal with the wine “at shelter temperature”.
The best
thing to be said for ADOLF HITLER ultimately is its legacy of showcasing future
stars of other TV military sitcoms. Amongst the rest of the cast is Tony Selby,
shortly to make his name in the National Service series GET SOME IN, and a
brace of future IT AIN’T HALF HOT MUM names - Donald Hewlett and the roaringly
splendid Windsor Davies, here channelling his Celtic apoplexy for the Scottish
side.
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