Kevin Brownlow, Andrew Mollo

Sog.: Kevin Brownlow; Scen.: Kevin Brownlow, Andrew Mollo; F.: Kevin Brownlow, Peter Suschitzky; M.: Kevin Brownlow; Scgf.: Andrew Mollo, Jim Nicolson; Cost.: Andrew Mollo; Mu.: Jack Beaver, Anton Bruckner; Su.: George Fisher; Int.: Pauline Murray (Pauline), Sebastian Shaw (Richard Fletcher), Bart Allison (Skipworth), Reginald Marsh (ufficiale medico della IA-Immediate Action Organisation), Frank Bennett (leader politico della IA), Derek Milburn, Nicolette Bernard (donna ufficiale della IA), Peter Dineley (ufficiale tedesco), Barrie Pattison, Honor Fearson (Honor Hutton), Ralph Wilson (Dr. Walton), Fiona Leland (Helen Fletcher), Alfred Ziemen (ufficiale tedesco), Rex Collett, Nicholas Moore, Michael Passmore, Ronald Phillips; Prod.: Kevin Brownlow, Andrew Mollo per Rath Films 35mm. L.: 2655 m. D.: 97’. Bn.


T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

It Happened Here is a ‘rewrite’ of history, an alternative time track, a paraphrase, as it were, of recent historical events. What would have happened if Operation Sea Lion – the Nazis’ plan to invade England in 1940 – had succeded? (…) Remarkably, It Happened Here’s newsreeels and documentary-style narrative technique contained not one feet of period or stock footage. Every shot was original. For the ersatz First World War newsreel, for example, Brownlow used a 1922 hand-cranked 16 mm Kodak camera to re-create the “look” of hand-held, grainy images. Andrew Mollo provided his own collection of original military uniforms and equi- pment and collectors contributed a variety of trucks, taxis, private cars and buses (according to Brownlow, wartime London buses are about the rarest vehicles on wheels). (…) The film’s presentist view of history that so struck viewers in 1965 is, if anything, even more disturbing today. Historian Linda Holt reports that, when the film was presented in Berlin in May 1996, German audiences were purportedly disturbed, because, among other reasons, it was an unwelcome reminder of the persistence on the Nazi ideology at home and abroad.

John C. Tibbets, Historical Journal of Film, Radio and Television, June 2000

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