A couple of months ago, I tweeted this in response to the publicity surrounding a new television drama co-scripted by Ian Hislop and starring Michael Palin as a First World War general. That drama was The Wipers Times, which has now been broadcast, several weeks ago, and I can only apologise for the delay caused by pressure of work which means it is no longer available on iPlayer for anyone in Britain who may have missed it.
As the comments on my original tweet forshadowed, I am forced to eat my words because, as a historical drama, it was, I thought, very good indeed, mainly because it didn’t attempt to represent itself as historical realism. Rather it adopted the tone of the trench journal which was its subject to represent the war as seen by the Wipers Times. Here I want to particularly commend Ben Daniels as a stereotypical brass hat blowhard, the very stereotype I was so concerned about, played to the point of exquisite caricature, beautifully illustrating the way in which trench journals such as the Wipers Times satirized the absurdist situation in which the men who created them found themselves. Far more than the music hall interludes, with their nods to ‘Oh, What a Lovely War’ and the excesses of cabaret culture, Daniels’s performance (and that of the more sympathetic figure played by Michael Palin) illustrated how our view of the war has been distorted by a tendency to define all wartime behaviours in black and white terms. No one in reality could be either so blindingly stupid or so wittily sympathetic as the characters these two actors portrayed. Only as satire do they make sense.
In general, all the performances were excellent, although Emilia Fox’s role as a loving wife was more or less superfluous. And my only potential historical criticism relates to some mumbling on the part of Julian Rhind-Tutt who made what I assume was meant to be ‘red tabs’ (staff officers) sound suspiciously like ‘red hats’ (military policemen), an entirely different, if equally loathed group of authority figures. But it was a good drama and, for the first third, very funny indeed. After that the humour became repetitive, and the shift of focus almost exclusively to the officers meant a loss of the voices of the ordinary soldier. While the tone towards these men was generally condescending, mocking the ignorance and unsophistication of the young British working class man, this was an accurate reflection of the language used by many trench journals which were as class-bound as so much else in British culture during the war.
The increasing staleness of the humour as the drama continued may seem like a criticism, but it is not. It too is an accurate reflection of trench journalism. For anyone who has spent any time reading such journals, and those produced in prisoner of war camps and hospitals, this growing staleness is all too familiar. It reflects the fact that (pace all those television reviewers who referred to the public school humour of the publication) these publications represented the humour not of the upper-middle classes (although this was well represented) as much as that of the institution. The result is a predominance of in-jokes which, to the outsider who is not caught in the institutional setting, be it a hospital, a prison or a military unit under orders, seem either inexplicable or dull. The trajectory of the drama captured this beautifully, with the only duff note being the uncharacteristic injection of sentimentality and 20/20 ‘foresight’ in the scenes depicting Fred Roberts, the originator and editor of the Wipers Times, at home with his wife on leave.
In the end, it was not the drama itself which troubled me as a First World War historian, but the response of television critics after its broadcast, an number of whom implied that the Wipers Times was worthy of note because it dramatised the viewpoint of a unique publication and, as such, stands as a necessary corrective to more sombre commemorations of the war. In fact, as I have suggested, it was one of a number of such publications which treated the trials and tribulations of warfare (including serious injury and the loss of liberty) as subjects of humour and absurdity. Some 800 such journals have been collected by Cambridge University Library. Nor was it only periodicals that adopted this tone. Herman Cyril McNeile, better known as ‘Sapper’, wrote a number of short stories which were published for propaganda and recruitment purposes by The Daily Mail, which also adopted an amused, flippant tone in their descriptions of life at war. For anyone interested in the subject, I highly recommend George Simmers’s excellent essay on facetiousness in wartime and post-war writing (which does a far better job of teasing out the class dimensions of this literature than I have done here). And for anyone want to read more institutional war time journals, Sue Light’s blog of the Gazette of the 3rd London General Hospital, Ward Muir’s Happy Hospital, gives an excellent idea of what can be found in that extraordinary organ, including contributions from C.R.W Nevinson, later a war artist, and Stephen Baghot de la Bere, the cartoonist. Nor were British the only servicemen to produce trench journals. Stéphane Audoin-Rouzeau’s Men at war, 1914-1918 : national sentiment and trench journalism in France during the First World War(translated by Helen McPhail) and Robert L. Nelson’s German Soldier Newspapers of the First World War present a transnational picture of bottom-up morale building during the war.
So The Wipers Times ended up not only proving itself an enjoyable drama, but also the source of considerable reflection on popular understandings of the war. While reviews of the programme expose some of the limits of public knowledge, my previewing comment exposed the limits of my own. It provoked a very interesting discussion with the historical adviser to the programme on the limitations inevitable with creating drama out of history, particularly on the sort of budgets provided by the BBC. I am now training myself not to complain about the misrepresentation of roles until I consider how a limited cast is being deployed to cope with sheer lack of numbers, and not to judge a popular television programme by its publicity.