How I Filmed the War: A Record of the Extraordinary Experiences of the Man Who Filmed the Great Somme Battles, etc.Malins, Geoffrey H.
History
How I Filmed the War: A Record of the Extraordinary Experiences of the Man Who Filmed the Great Somme Battles, etc.
Malins, Geoffrey H.
Malins, Geoffrey H.; Motion pictures; World War, 1914-1918 -- Personal narratives, British
Time: 7.19 a.m. My hand grasped the handle of the camera. I set my
teeth. My whole mind was concentrated upon my work. Another thirty
seconds passed. I started turning the handle, two revolutions per
second, no more, no less. I noticed how regular I was turning. (My
object in exposing half a minute beforehand was to get the mine from the
moment it broke ground.) I fixed my eyes on the Redoubt. Any second now.
Surely it was time. It seemed to me as if I had been turning for hours.
Great heavens! Surely it had not misfired.
Why doesn't it go up?
I looked at my exposure dial. I had used over a thousand feet. The
horrible thought flashed through my mind, that my film might run out
before the mine blew. Would it go up before I had time to reload? The
thought brought beads of perspiration to my forehead. The agony was
awful; indescribable. My hand began to shake. Another 250 feet exposed.
I had to keep on.
Then it happened.
[Illustration: THE OPENING OF THE GREAT BATTLE OF THE SOMME, JULY 1ST,
1916. AT 7.20 A. M. THIS HUGE MINE LOADED WITH 20 TONS OF AMINOL WHICH
TOOK 7 MONTHS TO MAKE, WAS SPRUNG UNDER THE GERMAN TRENCHES AT BEAUMONT
HAMEL]
The ground where I stood gave a mighty convulsion. It rocked and swayed.
I gripped hold of my tripod to steady myself. Then, for all the world
like a gigantic sponge, the earth rose in the air to the height of
hundreds of feet. Higher and higher it rose, and with a horrible,
grinding roar the earth fell back upon itself, leaving in its place a
mountain of smoke. From the moment the mine went up my feelings changed.
The crisis was over, and from that second I was cold, cool, and
calculating. I looked upon all that followed from the purely pictorial
point of view, and even felt annoyed if a shell burst outside the range
of my camera. Why couldn't Bosche put that shell a little nearer? It
would make a better picture. And so my thoughts ran on.
The earth was down. I swung my camera round on to our own parapets. The
engineers were swarming over the top, and streaming along the sky-line.
Our guns redoubled their fire. The Germans then started H.E. Shrapnel
began falling in the midst of our advancing men. I continued to turn the
handle of my camera, viewing the whole attack through my view-finder,
first swinging one way and then the other.
Then another signal rang out, and from the trenches immediately in front
of me, our wonderful troops went over the top. What a picture it was!
They went over as one man. I could see while I was exposing, that
numbers were shot down before they reached the top of the parapet;
others just the other side. They went across the ground in swarms, and
marvel upon marvels, still smoking cigarettes. One man actually stopped
in the middle of "No Man's Land" to light up again.
Public-domain text, read in full here on John Shaqi.
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