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
"Yes, sir. Nos. 1, 2 and 3 are being severely crumped. I would suggest
No. 5, sir; it's as clear as any of them. I should advise you to get
along this lane as fast as possible. I have been here some time, so I
know Fritz's little ways."
He saluted, and like a mole disappeared into his dug-out as I moved
away.
I told my man to keep about ten yards behind me, so that in the event of
a shell bursting near by one or the other of us would have a chance of
clearing.
"Now," I said, "let it go at a double. Come on," and with head well
forward I raced up the road.
Altogether, with my camera, I was carrying about seventy pounds in
weight, so you can guess it was no easy matter. There was about another
150 yards to go, when I heard the ominous shriek of a German shell.
"Down in the ditch," I yelled. "Lie flat," and suiting the action to the
word, I flung myself down in the mud and water near a fallen tree. Crash
came the shell, and it exploded with a deafening roar more on the side
of the road than the previous one, and near enough to shower mud and
water all over me as I lay there.
"Now then," I yelled to my man, "double-up before they range the next
one," and jumping up we raced away. Not before I had got well clear,
and near the old railway station, did I stay and rest. While there
several shells crashed in and around the road we had just left. I was
glad I was safely through.
With the exception of the usual heavy shelling, getting down to the
front trench was quite uneventful. My objective was a place called "The
White City," so called because it is cut out of the chalk-bank of our
position facing Beaumont Hamel. Getting there through the communication
trenches was as difficult as in the winter. In places the mud and water
reached my knees, and when you had come to the end of your journey you
were as much like dirty plaster-cast as anything possibly could be.
After three-quarters of an hour's trudging and splashing I reached "The
White City," and turned down a trench called "Tenderloin Street." About
one hundred yards on my right, at the junction of "King Street" and "St.
Helena Street," my guide pointed me out the Brigade dug-out. Depositing
my camera and outfit close to some sandbags I went inside and introduced
myself. Four officers were present.
"By Jove!" said one, "you are welcome. Have a drink. Here's a
cigarette."
"Here you are," said another, "have a match. Now tell us all the news
from home. My word, we haven't heard a blessed thing for days. Have you
really come to photograph 'The Day'?"
"Yes," I replied. "But I have come this afternoon to look round, and to
film the 'strafe' at Beaumont Hamel. You know the trenches round here:
where can I see the village to the best advantage?"
Public-domain text, read in full here on John Shaqi.
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