![]() ![]() ![]() The ‘dashing’ Captain Nolan (Davie Hemmings – the attribute is open to considerable debate) has a fairly pointless affair with the wife of his best friend. In an attempt to introduce a human element – and to encourage a more empathetic reading of the event – the film opens with an unnecessary love story. Unfortunately, it’s near impossible for the viewer to make a true assessment of their actions as Richardson neglects to explain or properly contextualise the Crimean War, clearly assuming a prior knowledge that audiences then (and now!) were likely not to have had. Cardigan and Raglan – by far the best characters in the film – show little empathy to their loyal troops, and demonstrate limited tactical ability. Despite his faults, Raglan is particularly stoic – one scene depicts his (anaesthetic free) on-field arm amputation – he barely murmurs. Lord Cardigan (Trevor Howard) heads up the Light Brigade Lord Raglan (John Gielgud) is the commander-in-chief who works (literally) in the shadow of Wellington. The action is interspersed with 19th-century inspired political cartoons that simultaneously reinforce yet satirize ‘Britain’: Queen Victoria lifts her skirt to reveal hordes of brave armies, enemy landscapes are reconfigured to resemble the lion of England, a bear (representing Russia) is easily tamed. ![]() Broadly satirical, and playing upon the idea of an army that’s obsessed with the ideas of the Duke of Wellington (1769 – 1852), Richardson depicts an army that’s governed by caricatured peers who leverage wealth and property for rank. In that sense, the sentiments expressed by Richardson in The Charge of the Light Brigade were as much a reflection of the current era as they were of the past. Experiencing a decade of rapid change (from youth-led protests against the Vietnam War to the establishment of the Notting Hill carnival) this was a country that was trying to cling to out-dated ideals. A celebration of disasters became a particular British pastime, a way to recover, no matter the outcome.īy the 60s, Britain must’ve been very aware of its baggage and its international reputation. In the aftermath, the blundering commanders were subtly recast as heroes by the national press – no doubt an effort to boost morale or maintain public support but the support also made both command and commanded increasingly wedded to gentlemanly codes. So neatly does the event link to aspects of British identity it’s become an expression of culture. It’s a surprising topic to make a film about. Take The Charge of the Light Brigade (1968), Tony Richardson’s sweeping war epic that depicts an infamous (and disastrous) battle during the Crimean war (1854-56) that was botched by inept commanders and arrogant aristocrats. Many British-made films in the 50s and 60s cemented and perpetuated the ideas and – thanks to the excellence of many films from this period – continue to influence contemporary thinking. These traits are deeply entrenched into the global brain and, although they might not represent exactly how it is to live in the country today, continue to persist.įilm, the medium that allows the viewer to escape into and discover life through another’s eyes, has a lot to answer for. ![]() The stereotypical image of Britain and the cultural construction of ‘Britishness’ include everything from stiff upper lips, strict generals, queuing systems, tea drinking and a bigoted class system. Of course, national and cultural identity and the external perceptions of a country are constantly in flux a global popularity contest that is won and lost through representation and soft power politics that are impossible to control. They might be gimmicky, but they all come together to create a strong image and understanding of ‘Brand Japan’ that can be identified the world over. Clearly the appeal of Japan’s offbeat fast food menu items, distinctive fashion trends and cat café craze extends far beyond the shores of the rising sun. To compile the index, FutureBrand measures perceptions of countries around the world against guidelines similar to those that would be used to judge consumer brands. Last week, global brand consultancy FutureBrand named Japan as the world’s strongest country brand – the first time an Asian country has topped its annual Country Brand Index in its history. ![]()
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