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
I reached the canal bank. Lying alongside was the blackened ribs of a
barge. Only the stern was above water and it was still smouldering; even
the ladders and foot-bridges were all destroyed; not a single thing that
could be of any use whatsoever had been left. I trudged along the canal
bank; bridge after bridge I tried, but it was no use, for each one in
the centre for about ten or twelve feet was destroyed--and, stretched
between the gap, I found a length of wire netting covered over with
straw--a cunning trap set for the first one across. Not a bridge was
passable--they were all down!
Peronne lay on the other side and there I must get before the light
failed and while the place was still burning; if I had to make a raft of
old timber I made up my mind to get there.
Returning to the bank I placed my camera upon the ground and with the
help of three men gathered up some rusty tin cylinders, which, earlier
in the campaign, had been utilised as floats for rafts.
I had fished out of the river three planks, and laying them at equal
distance upon the cylinders, I lashed them together and so made a raft
of sorts. With care I might be able to balance myself upon it and so
reach the other section of the bridge and then a rope at either end
would enable my man and tripod to be pulled across.
The idea was excellent, but I found that my amateur lashing together
with the strong current that was running made the whole plan quite
impossible, so, after being nearly thrown into the river several times,
and one of the floats coming adrift and washing away, and then doing a
flying leap to save myself being hurled into the water upon a trestle
which collapsed with my weight, I decided to give up the experiment and
explore the river bank further down in the hope of getting across.
Eventually, after going for about two kilometres, I reached the ruins of
the main bridge leading into the town. This, also, was blown up by the
retreating Huns, but, by using the blocks of stone and twisted iron
girders as "stepping-stones," I reached the other side.
The old gateway and drawbridge across the moat were destroyed; the huge
blocks of masonry were tossed about, were playthings in the hands of the
mighty force of high explosives which flung them there. These scenes I
carefully filmed, together with several others in the vicinity of the
ramparts.
[Illustration: LORD KITCHENER'S LAST VISIT TO FRANCE. HE IS VERY
INTERESTED IN THE CARE OF THE WOUNDED]
The town was the same as every other I had filmed--burnt and
shell-riven. The place as a habitable town simply did not exist.
German names were everywhere; the names of the streets were altered,
even a French washerwoman had put up a notice that "washing was done
here," in German.
Public-domain text, read in full here on John Shaqi.
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