What a waste of my time!!!

Your blood may run cold, but you now find yourself pinioned to the story.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

"A Diary for Timothy" is a short film from 1945 and the director is Humphrey Jennings, the man who made the Oscar-nominated "Listen to Britain" a few years earlier. The contents here are very different with the exception that history had progressed considerably in these 3 years. The Allies had won the war and this film tells audiences again about what life in Britain looked like around that time. It also tells about the upcoming challenges for post-war Britain and the world. For the framework here, Jennings used a little baby and explains this film by depicting the world he was born into as he did not exist yet in 1942 when he made his more known movie. This film here includes some very known British artists such as actors Michael Redgrave, John Gielgud and writer E.M. Forster. I still must say it was not really in interesting watch. I'd only recommend this to British people with a great interest in history, or even historians themselves. Thumbs down from me.

This brief documentary-style film presents the status of Great Britain near the end of the Second World War by means of a visual diary for a baby boy born in September, 1944. Narration explains to "Timothy" what his family, his neighbors, and his fellow citizens are going through as the war nears its end, and what problems may remain for new Englishmen like Timothy to solve.What makes this brief documentary so interesting is how it focuses on Timothy James Jenkins, a real child in England. Thus, this is not just a time capsule, but a commencement speech of sorts -- but instead of following a graduation, it follows the birth of this child.In a sense, the hopes of a nation are seen through one boy... and this, in turn, made the boy something of a cult figure. (On a very, very small scale, of course... but his biography is well-known to anyone who cares to search it out.)

This is a short film about the young life of Timothy--a child born in 1944 as well as European events of this and the following year (to almost the end of the war). No mention is made of the war in the Pacific--that is a bit odd.Apparently, this short film has fallen into the public domain and I found a copy online. I would love to know more about the origins of the film--who financed it and what was the purpose for making the film. It seemed to me that the film was like an introduction to some socialist utopia the film makers envisioned for post-war Britain and the whole thing seemed to have a definite agenda. Scenes of school children singing in front of giant banners of the Soviet Union and lots of talk of Russian forces liberating Poland (though they didn't mention the slaughter of dissenters within Poland that also occurred in the process--a rather substantial omission) made me feel the film had a strong American involvement in socialist or Labor bent--very, very strong. No mention was made of assistance from the Free French and far less was said about American assistance than that of the Soviets. No mention is made of US or British assistance to the USSR (both countries fed and supplied the Russian people and military) and this does seem to show a strong bias. Perhaps the film was intended as a specific thank you and to be shown in Russia or perhaps the film makers wanted the UK to become a socialist or communist paradise as well.Now despite the leftist leanings of the film, the quality of the short was exceptional. The narration was very lyrical in a way and was almost like a long poem to the future. And, the narration was exceptional. Obtaining E.M. Forster to write it and Michael Redgrave to narrate it is quite the pedigree. It is a lovely short film--very optimistic. It's just a shame that all the wonderful notions about this utopia never really came to be and it wasn't more balanced.

The film was recently presented at the Cinematheque in Paris for a debate on Jennings' work, with David Robinson and Elena von Kassel Siambani as debaters, and the participation of Stephen Frears. Stephen Frears' participation was disappointing because he did not say one single piece of his mind about Jennings. But the two other debaters totally missed the point by qualifying Jennings' war films as poetic. That satisfied the nostalgic audience but they completely missed the point. Too bad for our historians. They got lost and satisfied to be lost in the biographical elements and the historical events of the time, as if it were capital to know that Jennings was an aristocrat by birth. When we come across a film, or as for that any work of communication or art, any work produced by human beings, we have to look for the language in the message, the alphabets used to produce the message and the syntax of that message. At once we discover that this Diary for Timothy has little to do with a documentary, as little at least as Oliver Twist. At once we know this diary is not a documentary and that the films Jennings produced that were not connected with the war are different, be it only absolutely boring. The war enable Jennings to jump into a different style, syntax, language, message. A Diary for Timothy is pure fiction aiming at having a political effect on the captive audience of 1944-45 in England. This film is a masterpiece for his time because it invents something that will become the first and foremost medium in human history, television. The first language of the film is dictated by its framing-shooting-editing. Jennings centers his framing and shooting on characters, bodies, at times traveling from foot to head or vice versa, at times giving close-ups of one or two faces. This very close shooting, narrow framing is typical of what was to become television. It is thus aiming at empathy, especially since the characters do not speak: the discourse comes from a voice-over. The second technical element. The framing-shooting-editing of this film concentrates on absolutely common place everyday situations in 1944, so that you – the audience – can feel a high level of all-sensory empathy. Take for example the image of the bunk beds in the underground station: It focuses on one person in one bunk bed, in the dark, wrapped up in a blanket. You can at once smell the dampness and the soot, the stale air, the sweat and other body smells. You can feel the closed up environment in which human beings are packed, slightly claustrophobic and holding onto people who are invaders in a way, and you are feeling as if you were an invader too. You can also feel the fear, the danger, the night, etc. And of course you can hear the announcement for the last train and the train rumbling by, without seeing it. It is all-sensory except for the intellect and the mind. It is an immediate un-mediated reaction. It does not want to make you go out and do anything, not even think. It does not aim at making you engage in any action of any type. It just wants you to feel 100% convinced that what you are doing everyday in that war is the right thing. It is propaganda. And this very last element is fundamental. Jennings is inventing the ultimate manipulating medium, television, for which the medium is the message, the message is a massage and the massage is the ultimate message. TV is doing that all the time, especially in its fictional productions and it seems to deal with its news programs as if they were fiction with the stamp of TRUTH printed onto them. Now is this Diary for Timothy poetic? That is your choice to consider most of these pictures as poetic. The aim is not to produce poetry but effective propaganda and the new medium he is inventing is using the same techniques as poetry to reach its aim which is neither to make people – in 1944-45 – nostalgic or soft around the edges, or to make them wonder about the beauty of a scene or a vision. In one scene two people, one man and one woman are under a table covered with a tablecloth. But this scene is not funny and you will not smile or laugh at it, at least not in 1944-45 because of the direct edited surroundings of this short sequence. We know what this means and we admire the courage of these people very much. We think of other scenes of the same type (Mozart and his wife-to-be smooching under a table in Vienna as seen by Milos Forman) and the one here is serious and reveals the courage and strength of the two people, not their lust or freewheeling carelessness. Why on earth did the Cinematheque in Paris miss that point? Because they are entirely concentrated on the cinema and do not consider television, like for instance the Museum in Bradford (photography, cinema and television). And because in France it has been very trendy for decades to refuse to see Marshall McLuhan has a point on the question. But it is more surprising that the debaters went along with that mistake. As historians of the cinema they should always consider the cinema as one medium among many other media. Apparently they isolate the cinema from the rest of the mediatic world.Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines