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
[Illustration: WITH MY AEROSCOPE CAMERA AFTER FILMING THE BATTLE OF ST.
ELOI]
Shouldering my camera I led the way, followed by the men at a distance
of twenty yards. Several times on the journey shrapnel balls and
splinters buried themselves in the mud close by. When I reached the
firing trench all our men were standing to arms, with grim faces,
awaiting their orders. I fixed up the tripod so that the top of it came
level with our parapet, and fastened the camera upon it. It topped the
parapet of our firing trench (the Germans only forty-five yards away),
and to break the alignment I placed sandbags on either side of it.
In this position I stood on my camera case, and started to film the
Battle of St. Eloi.
Our shells were dropping in all directions, smashing the German parapets
to pulp and blowing their dug-outs sky-high. The explosions looked
gorgeous against the ever-increasing light in the sky. Looking through
my view-finder, I revolved first on one section then on the other; from
a close view of 6-inch shells and "Minnies" bursting to the more distant
view of our 9.2. Then looking right down the line, I filmed the clouds
of smoke drifting from the heavy (woolly bears) or high shrapnel, then
back again. Shells--shells--shells--bursting masses of molten metal,
every explosion momentarily shaking the earth.
The Germans suddenly started throwing "Minnies" over, so revolving my
camera, I filmed them bursting over our men. The casualties were very
slight. For fully an hour I stood there filming this wonderful scene,
and throughout all the inferno, neither I nor my machine was touched. A
fragment of shrapnel touched my tripod, taking a small piece out of the
leg. That was all!
Shortly after seven o'clock the attack subsided, and as my film had all
been used up, I packed and returned to my shelter.
What a "scoop" this was. It was the first film that had actually been
taken of a British attack. What a record. The thing itself had passed.
It had gone; yet I had recorded it in my little 7- by 6-inch box, and
when this terrible devastating war was over, and men had returned once
again to their homes, business men to their offices, ploughmen to their
ploughs, they would be able to congregate in a room and view all over
again the fearful shells bursting, killing and maiming on that winter's
morning of March 27th, 1916.
CHAPTER VIII
A NIGHT ATTACK--AND A NARROW ESCAPE
A Very Lively Experience--Choosing a Position for the Camera
Under Fire--I Get a Taste of Gas--Witness a Night Attack by
the Germans--Surprise an Officer by My Appearance in the
Trenches--And Have One of the Narrowest Escapes--But
Fortunately Get Out with Nothing Worse than a Couple of
Bullets Through My Cap.
Public-domain text, read in full here on John Shaqi.
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