Saturday, 11 February 2012
Thursday, 9 February 2012
Pre-Production- Reasons for Changes in Final Script
- A bit of added description, just for clearer imagery
- When Ernest is speaking about the image he keeps having, I’ve taken out the direction which says you’d see it on screen as it may have been a bit patronising for the audience
- I’ve taken out the Chaplain for two reasons:
1. I read that Chaplains weren’t always present. And it would have been unlikely for there to have been one at a time a crucial and supply stretch as December 1916 in Albert (the Somme was in November).
2. I wanted to remove the notion of God and religion- not entirely, as the Officer says ‘May God have mercy on your soul’, but the idea of the Chaplain passing him from one life to the next, I felt, disrupted my point. Ernest’s death is not so he can meet Rose in heaven, it’s a personal promise, he will see her in death, not in heaven. Ernest probably is a Christian, but his love for Rose is far more important to him than religion.
- The officer’s speech is changed slightly, and the name of Ernest’s commanding officer has been changed. That was actually just because I made a mistake with who Ernest Beeby’s superior officer was the first time round... Got him mixed up with another case I was reading about... woops.
- ‘six shots’ changed to twelve because of research
- Memorial shot added because I thought it would be nice.
Pre-Production- Final Script
1. EXT- ALBERT LANDSCAPE- SUNRISE
Fade in on a shot of the Albert sunrise, morning light flooding over a desolate and inhabitable landscape. SUPER: Outside Albert, France, December 1916.
Ernest’s face comes into view, staring into the distance, serious, impassive. He has blood and dirt on his face. His hair has grown long out of a short back and sides. Close shot of his eyes, which close, as if in deep internal pain.
*FLASHBACK* A girl stands... her back to the camera... a few metres away. There is a gentle breeze... she is wearing a summer dress. She begins to turn soundlessly... this is ERNEST’S happiest memory of his wife and all of the sounds of war have disappeared
His eyes open again. We see his hands tied behind his back. Scrunched up, but just visible in them is a picture of his wife. He wears a ring. Some birds are nestling in a tree. His lips are chapped and dry. He licks them.
*FLASHBACK* We see ROSE once more, the same shot, she turns slightly more towards the camera
Ernest’s face again. He breathes in slowly and then releases.
2. INT- ERNEST’S LIVING ROOM- NIGHT
ERNEST and ROSE are lying on the floor, on their backs. They look happy and content- a scene of domestic bliss.
ERNEST
(Frowning, thoughtful)
There’s an image in my mind that I can’t seem to get out
ROSE
Oh? What is it?
ERNEST
Do you remember that day... it was one of the first times we’d met each other... It was summer, and we were on the farm
ROSE
Yes, I remember
ERNEST
And I just remember, you stopped, ahead of me and turned.I couldn’t see your face, but I knew exactly how you would look when you turned around. I didn’t need to see it. It was as if I had known you for years. Like you’d always been with me... and always would
ROSE stares at him, tears in her eyes slightly.
ROSE
I don’t want you to go
ERNEST sighs, he looks stricken now. He glances down
ERNEST
And I don’t want to go
ROSE
(Half joking, half serious)
Couldn’t we just... run away?
ERNEST
If only we could... it would make things easier.
He pauses, staring at the worried expression on her face
But they say the war’s nearly over. I doubt I’ll even get to shoot anyone. [BEAT] I’ll come back to you at Christmas
ROSE
Make sure you do
ERNEST
Come back or shoot someone?
She smiles
ROSE
Just come back to me
ERNEST smiles
ERNEST
I will. I promise
ROSE
And promise you won’t let a German shoot you
ERNEST
I promise I won’t let a German shoot me
ROSE smiles. They lie back, staring at the ceiling
ROSE
Another thing, Ernest...
ERNEST
Mmm?
ROSE
I’ve been to see the Doctor...
ERNEST sits up, and looks at her, worried
I’m pregnant
ERNEST looks at her for a second in disbelief, and then breaks into a huge, shocked smile
3. EXT- ALBERT LANDSCAPE- SUNRISE- AS BEFORE
A tear rolls down ERNEST’s cheek. There is movement behind him, and he sniffs. He composes himself. An Officer’s legs comes into view behind him
OFFICER
That’s your five minutes. Come on
The shot remains on his face, which is impassive, emotionless as he is dragged to his feet. We stay on his face as he is lead towards the post, the shot only interrupted by close ups of his feet, squelching in the mud, the OFFICER’S hand on his arm, his arms behind his back. He is bound to the post by the officer, but we never leave the close shot of ERNEST’s face.
OFFICER
Ernest Beeby, you are found guilty of desertion when on active service, under your superior officer, No. 11516 S.Major A. O’Connell on the 29th October 1916. Under Section 12 of the Army Act, you are sentenced to death by firing squad. In the absence of a chaplain we may only hope God will have mercy on your soul.
Throughout this passage, the focus is mainly on his face, but occasionally there are cuts to the same shot of ROSE, still facing sideways, her hair blowing in the breeze.
The OFFICER walks forward, with a bag in his hand and attempts to place it on ERNEST’s head.
ERNEST
Please- no hood
OFFICER
Very well
ERNEST nods his appreciation
OFFICER
Take aim...
The scene is building pace, the music quickens
ERNEST
I will come back to you.
The music is at a peak, a crescendo
*FLASHBACK* A young soldier is rousing ERNEST from his sleep on the floor. He hands him a letter and leaves. ERNEST opens it- we see his face as he reads the words- shock. Extracts of the letter flash on screen- ‘Mrs Rose Beeby... died in childbirth...25th October...sorry for your loss... remain on active duty until notified otherwise’. We see a shot of him from behind as he sinks to his knees, shaking. We see him packing his things, and walking off into the sunset.
Suddenly cuts to the lips of the officer as he screams:
OFFICER
FIRE!
BANG! Twelve shots are heard, the music stops, a group of birds takes off from a nearby tree and all is quiet. The picture that was behind his back falls from his hands, but is caught by the wind, and falls in front of him. He looks down on it- he is just alive. He smiles, the light in his eyes just about there. A hand comes into view, checks his pulse.
OFFICER
Has he gone?
DOCTOR
Aye, he’s gone.
The hand disappears. His face hasn’t changed- locked eternally in a peaceful smile.
Fades to a memorial shot of Ernest Beeby.
FADE OUT
Tuesday, 7 February 2012
Pre-Production- Further Findings from Execution Research
Expectations of war
World War One soldiers knew their king and country expected them to fight to the death. Such was the expectation of their military commanders, their political leaders and even their loved ones that there was no question that if mortal danger came, they should face it like men. It was the only way for good to triumph over evil.But this conflict quickly became the most brutal war in history and not even the most seasoned serviceman was prepared for the scale of carnage that unfolded before him. For many the horror proved too much. Hundreds were unable to cope, many were driven insane and several simply ran away.
But the army could no more afford to carry cowards than it could traitors, and many of those who did flee faced instant retribution with a court martial and death by firing squad.
... their names still do not appear on official war memorials.
Relatives and supporters of the executed men are fighting to win them a posthumous pardon. Their Shot at Dawn campaign claims the soldiers were blameless because it was severe psychological trauma, not cowardice, that rendered them physically unable to cope with the shocking scenes they had witnessed.
But others believe it is impossible to condemn the events of a century ago from a modern-day perspective. Whatever the rights and wrongs, they say, a pardon is inappropriate and impossible.
Military justice
British troops witnessed the annihilation of their friends on a daily basis ©Most of the three million British troops soon knew they faced almost certain death on the battlefield. Day after day they would witness the annihilation of their friends, never knowing if or when they would be next. On some occasions whole battalions were wiped out, leaving just a handful of confused, terrified men. But those who shirked their responsibility soon learned there was no way out of the horror - if they ran from German guns, they would be shot by British ones.Private Thomas Highgate was the first to suffer such military justice. Unable to bear the carnage of 7,800 British troops at the Battle of Mons, he had fled and hidden in a barn. He was undefended at his trial because all his comrades from the Royal West Kents had been killed, injured or captured. Just 35 days into the war, Private Highgate was executed at the age of 17.
Many similar stories followed, among them that of 16-year-old Herbert Burden, who had lied that he was two years older so he could join the Northumberland Fusiliers. Ten months later, he was court-martialled for fleeing after seeing his friends massacred at the battlefield of Bellwarde Ridge. He faced the firing squad still officially too young to be in his regiment.
Herbert Burden faced the firing squad still officially too young to be in his regiment...
Those condemned to death usually had their sentences confirmed by Field Marshal Sir Douglas Haig on the evening following their court-martial. A chaplain was dispatched to spend the night in the cell with the condemned man and execution took place the following dawn, with some men facing their last moments drugged with morphine or alcohol.
When the time came, the offender was tied to a stake, a medical officer placed a piece of white cloth over the man's heart and a priest prayed for him. Then the firing line - usually made up of six soldiers - was given orders to shoot. One round was routinely blank and no soldier could be sure he had fired a fatal shot.
Immediately after the shooting, the medical officer would examine the man. If he was still alive, the officer in charge would finish him off with a revolver.
'So many of those who were executed were just boys,' argues Shot at Dawn campaign leader John Hipkin. 'They made no allowance for that. They and their families were let down. The whole issue was, and still is, a disgrace.'
Shell shock
Not one of the executed soldiers would be shot today - the military death penalty was outlawed in 1930. But psychologist Dr Petra Boynton believes that, even 90 years ago, there was no excuse for killing soldiers who were so obviously under the most extreme stress.'Letters home from the front line show soldiers in stages of mental collapse,' she says. 'Men were obviously breaking down as they wrote about the horrors they'd seen. Those who did survive were changed forever.'
Shell shock - now called post-traumatic stress disorder - was first recognised in print by Dr Charles Myers of the British Psychological Society in 1915. By the end of the war the army had dealt with more than 80,000 cases.
'Even the ancient Greeks knew about what they called 'war exhaustion', whether it was physical or mental,' says Dr Boynton from the Royal Free and University Medical School.
Many of these men later proved they were brave by refusing to be blindfolded for their executions.
'Many of these men later proved they were brave by refusing to be blindfolded for their executions. They stared down the barrels of the guns which would kill them. That's not cowardice. That's courage.'
Dr Boynton believes those in the firing line would also have suffered. 'It was an extremely powerful form of bullying, having to kill your own friends,' she says. 'It sent out the message that you could be next.'
The case against a pardon
The Americans often used humiliation as a punishment for desertion ©Britain was not alone in executing its own soldiers. The French are thought to have killed about 600. The Germans, whose troops outnumbered the British by two to one, shot 48 of their own men, and the Belgians 13. In 2001, 23 executed Canadians were posthumously honoured by their government, and five troops killed by New Zealand's military command also recently won a pardon. Not one American or Australian soldier was executed.Five successive British governments have rejected appeals to pardon the soldiers and the Ministry of Defence refuses to re-open the court martial files, even on the youngest troops.
'There are lots of problems with second-guessing the reasoning behind these actions from today's standpoint,' says an MoD spokesman. 'Anyone over the age of 14 was deemed legally responsible for his actions and army regulations provided no immunity from military law for an underage soldier.
'A blanket pardon is impossible because all the cases were different. It would be very difficult to review each case separately because in 80 years a lot of the papers have disappeared.'
An individual re-assessment of these cases would undoubtedly reconvict the majority...
'The number of rogues outnumbered those with mitigating circumstances by about six to one,' she said. 'Many were repeat deserters who showed no sign of shell shock. An individual re-assessment of these cases would undoubtedly reconvict the majority, which would be a terrible thing for families to bear - even worse, probably, than clinging to the hope of a pardon for the ancestors they believe to be innocent.
'Sometimes there were no witnesses at the original trials. If evidence wasn't available then to say exactly what happened, we certainly won't find it now.
'Military justice was harsh, but life was much harsher then. Capital punishment was still used in Britain. And while the military law used was written for previous campaigns in Africa, and perhaps was not appropriate, every one of the soldiers signed up to those regulations.'
Changing times
Memorial to those executed, modelled on Herbert Burden who was shot aged 17 ©Opinion continues to be divided. The Royal British Legion supports calls for a pardon and, for the past two years, has invited the Shot at Dawn campaigners to take part in the march past the Cenotaph in London on Remembrance Sunday. Last year a memorial to the executed soldiers was erected at the National Memorial Arboretum in Lichfield, Staffs.'We don't want pardons for villains. We want justice for people who were shot for insubordination because they refused to put on a hat, or who fell asleep at their post, or were just so terrified they simply could not cope.'
...we must be very wary about applying our modern sentiments and values to the 1914-18 war.
'Some men, and there are tragic cases, were undoubtedly suffering from what we would now recognise as combat stress. But our great-grandfathers didn't understand that any more than they knew about blood transfusions or penicillin.
'If these men were alive today, we would not kill them. But we must be very wary about applying our modern sentiments and values to the 1914-18 war. We cannot re-invent the past to suit ourselves today. And even now we expect our servicemen, and women, to do what they presumably signed up to do - risk their lives and fight.'
A soldier's story
World War One veteran Smiler Marshall ©Veteran Albert 'Smiler' Marshall recalls only too well the terror of battle. The former Essex Yeomanry soldier, who was 105 in 2002, remembers one incident in 1917 as being even more horrifying than the Somme.'One afternoon at about 4pm we learned that soldiers from the Oxford and Bucks regiment were to go over the top at 6pm. By nine o'clock every single one of them was dead.
'We went out with the Royal Army Medical Corps to bury them all. An officer held up a white stick as we went into No Man's Land. It was a sign to ask the enemy to stop firing, and they did. We could only dig down a few feet and cover them with a bit of soil, burying them where they lay. It was horrible.'
But having lived through the terror, Smiler, now of Ashtead, Surrey, believes it would be wrong to pardon those who were shot at dawn. 'I didn't know anyone who was executed or who had anything to do with a firing squad but we all knew about the penalty. But it didn't occur to you not to fight. You didn't think about it, you just did it. And you just took what came your way.'...you regularly lost a friend, or someone near you. The thought never left you that you could be next.
But Smiler, believed to be the last surviving World War One veteran to have fought on horseback, did have some sympathy with at least one man who was punished. 'One day I was ordered to stand guard over a chap who had been tied to a wheel, without food or water, as a punishment for something. I can't remember what he'd done. But I felt sorry for him so I put my fag up to his lips so he could have a smoke. It was a very risky thing to do because if anyone had seen me they'd have tied me to the wheel as well!
'Years later I was walking down Oxford Street in London and I saw him. He recognised me immediately and thanked me. He said he'd never forgotten that fag.'
Source: http://www.bbc.co.uk/history/british/britain_wwone/shot_at_dawn_01.shtml
Similar Products- Tragic Films
Passchendaele
Watch from 3.52 onwards.
Here is the death scene of Michael Dunne at the Battle of Passchendaele- a famous WW1 battle. The obvious links are the time period and the death of a soldier, although he has been shot by Germans rather than executed. His lover Sarah Mann, who is a nurse, finds him dying from multiple wounds. He dies in her arms. He is a tragic hero like Ernest, and dies for love. He, like Ernest, also promises not to die at war, but does- however; he is breaking his promise, whereas Ernest is actually keeping all of his.
Romeo and Juliet
Watch from 4:18 onwards
This is the classic scene, where Romeo, believing Juliet to be dead, drinks poison, as he can’t live without her. Juliet, waking up to find Romeo dead, kills herself. In the original text, Romeo is dead when she wakes up and she stabs herself, whereas in this version, Romeo is dying and she shoots herself through the temple. This is an example of a tragic scene in that the young, in love couple meet a tragic end in death, with family differences and conflict ultimately being the reason for their deaths. The scene is warmly lit by candlelight, as in both Romeo’s suicide and Juliet’s afterwards, despite their sadness at their love’s death; they find themselves dying with a certain amount of happiness at the prospect of dying with their soul-mate. This idea is emulated in Another Life, with both Ernest and Rose dying, and Ernest purposefully dying in order not to break his promise to Rose.
Braveheart
Watch from start
In Braveheart, the tragic hero’s wife also dies, but earlier on in the film, her death acting as the catalyst for all the other events. The real tragic end is William Wallace’s death, out of stubbornness and refusing to surrender his freedom to the English. In Wallace’s final scene, he is publicly tortured and then executed by the army- the similarities between this and Another Life are apparent. It is also a historical drama, following a real person, which departs from facts slightly in order to create an entertaining and moving picture- also similarly to Another Life.
Monday, 6 February 2012
Research- Target Audience
Target audience for tragedy films are pretty hard to pin down as tragedy is such an old, prevalent and well-known genre. Everyone likes a cathartic ending really. As for the romance element, female viewers would definitely be more interested, as romantic films appeal more to women than men. The war element may bring in some male attention, and also the attention of anyone with a historical interest, owing mainly to the fact that the WWI executions are a relatively uncovered topic, especially in film. I rated the film 12A so the target audience is obviously 12 upwards, but the main target will be women, 16-45.
Similar Products- Character Theory
It's difficult to link Ernest to a particular theory. Goffman's protagonist is probably the most obvious, as he is a pretty standard protagonist. He's also a bit of a sacrifice- or rather he sacrifices himself for what he believes in. He is also the focal character, which is nearly always the case with protagonists. Going by Goffman's theory, this makes Rose, Ernest's wife the deuteragonist, dating back from Aeschylus's invention of a second character.
Ernest is representative of the male gender and soldiers from the time period. He fits he male role in that he is fit, works hard and is devoted to his wife. This is especially important when considering the time period. He is stuck in his ways and stubborn up until the end. He is conventional of the time period in many ways and also unconventional. He is also an unconventional soldier in that he would rather die for love than for his country. He is unfazed by the idea that he is seen as a villain and viewed as a coward by his peers as he believes he is doing the right thing for his wife and fulfilling the promises he made her. However, he is nevertheless a good soldier, and was resourceful, economical and clever.
Ernest is representative of the male gender and soldiers from the time period. He fits he male role in that he is fit, works hard and is devoted to his wife. This is especially important when considering the time period. He is stuck in his ways and stubborn up until the end. He is conventional of the time period in many ways and also unconventional. He is also an unconventional soldier in that he would rather die for love than for his country. He is unfazed by the idea that he is seen as a villain and viewed as a coward by his peers as he believes he is doing the right thing for his wife and fulfilling the promises he made her. However, he is nevertheless a good soldier, and was resourceful, economical and clever.
Pre-Production- Script Version 1
1. EXT- ALBERT LANDSCAPE- SUNRISE
Fade in on a shot of the Albert sunrise, morning light flooding over a desolate and inhabitable landscape. SUPER: Outside Albert, France, December 1916.
Ernest’s face comes into view, staring into the distance, serious, impassive. He has blood and dirt on his face. His hair has grown long out of a short back and sides. Close shot of his eyes, which close, as if in deep internal pain.
*FLASHBACK* A girl stands... her back to the camera... a few metres away. There is a gentle breeze... she is wearing a summer dress. She begins to turn... soundlessly... this is ERNEST’S happiest memory of his wife and all of the sounds of war have disappeared
His eyes open again. We see his hands tied behind his back. Scrunched up, but just visible in them is a picture of his wife. He wears a ring. Some birds are nestling in a tree. His lips are chapped and dry. He licks them.
*FLASHBACK* We see ROSE once more, the same shot, she turns slightly more.
Ernest’s face again. He breathes in slowly and then releases.
2. INT- ERNEST’S LIVING ROOM- NIGHT
ERNEST and ROSE are lying on the floor, on their backs. They look happy and content- a scene of domestic bliss.
ERNEST
Frowning, thoughtful
There’s an image in my mind that I can’t seem to get out
ROSE
Oh? What is it?
ERNEST
Do you remember that day... it was one of the first times we’d met each other... It was summer, and we were on the farm
As he speaks, slow motion colour blur images match his speech
ROSE
Yes, I remember
ERNEST
And I just remember, you stopped, ahead of me and turned
As he says this, the clip is played of her turning in slow motion
I couldn’t see your face, but I knew exactly how you would look when you did. I didn’t need to see it. It was as if I had known you for years. Like you’d always been with me... and always would
ROSE stares at him, tears in her eyes slightly. She leans over and kisses him
ROSE
I don’t want you to go
ERNEST sighs, he looks stricken now. He glances down, the
ERNEST
And I don’t want to go
ROSE
Half joking, half serious
Couldn’t we just... run away?
ERNEST
If only we could. But they say the war’s nearly over. I doubt I’ll even get to shoot anyone. I’ll come back to you at Christmas
ROSE
Make sure you do
ERNEST
Come home or shoot someone?
She smiles
ROSE
Just come back to me
ERNEST smiles
ERNEST
I will. I promise
ROSE
And promise you won’t be shot by a German
ERNEST
I promise I won’t be shot by a German.
ROSE smiles
ROSE
Oh and one more thing... I’ve been to see the Doctor...
ERNEST sits up, and looks at her, worried
I’m pregnant
ERNEST looks at her, and then breaks into a huge, shocked smile
3. EXT- ALBERT LANDSCAPE- SUNRISE- AS BEFORE
A tear rolls down ERNEST’s cheek. There is movement behind him, and he sniffs. He composes himself. An Officer’s legs comes into view behind him
OFFICER
That’s your five minutes. Come on
The shot remains on his face, which is impassive, emotionless as he is dragged to his feet. We stay on his face as he is lead towards the post, the shot only interrupted by close ups of his feet, squelching in the mud, the OFFICER’S hand on his arm, his arms behind his back. He is bound to the post by the officer, but we never leave the close shot of ERNEST’s face.
CHAPLAIN
Our Father in heaven,
hallowed be your name.
Your kingdom come,
your will be done,
on earth as it is in heaven.
Give us this day our daily bread,
and forgive us our debts,
as we also have forgiven our debtors.
And lead us not into temptation,
but deliver us from evil
OFFICER
Ernest Beeby, you are found guilty of desertion when on active service, without orders from your superior officer, No.443 Sgt Williams on the 4th November, 1916. Under Section 12 of the Army Act, you are sentenced to death by firing squad.
Throughout this passage, the focus is mainly on his face, but occasionally there are cuts to the same shot of ROSE, still facing sideways, her hair blowing in the breeze.
The OFFICER walks forward, with a bag in his hand and attempts to place it on ERNEST’s head.
ERNEST
Please- no blindfold
OFFICER
Very well
ERNEST nods his appreciation
OFFICER
Take aim...
The scene is building pace, the music quickens
ERNEST
I will come back to you.
The music is at a peak, a crescendo
*FLASHBACK* A young soldier is rousing ERNEST from his sleep on the floor. He hands him a letter and leaves. ERNEST opens it- we see his face as he reads the words- shock. Extracts of the letter flash on screen- ‘Mrs Rose Beeby... died in childbirth...25th October...sorry for your loss... remain in active duty’. We see a shot of him from behind as he sinks to his knees, shaking. We see him packing his things, and walking off into the sunset.
Suddenly cuts back to the lips of the officer as he screams:
OFFICER
FIRE!
BANG! Six shots are heard, the music stops, a group of birds takes off from a nearby tree and all is quiet. The picture that was behind his back falls from his hands, but is caught by the wind, and falls in front of him. He looks down on it- he is just alive. He smiles, the light in his eyes just about there. A hand comes into view, checks his pulse.
OFFICER
Is he gone?
DOCTOR
Aye, he’s gone.
The hand disappears. His face hasn’t changed- locked eternally in a peaceful smile.
FADE OUT
Sunday, 5 February 2012
Similar Products- Ernest as a Conventional Character
I wrote the character of Ernest with the conventions of both the Romance genre and the historical period in mind. Here are some examples of the result of these considerations:
Michael Dunne, Passchendaele, 2008
Michael Dunne, Passchendaele, 2008
Both in the historical and genre sense, Ernest is a lot like Dunne. Nationality, age and wartime experience differs slightly, in that Dunne is an older, Canadian decorated veteran and Ernest is an early 20s, English Pioneer. However, they are both WW1 soldiers, who are smart, resourceful soldiers, who would both rather not go to war, but live a simple, rural lifestyle. They are also torn apart from their loves by war, and war leads to both of their deaths. They are both romantics, and both give their lives to the women they love. They both share the principals and morals of the time, but both happily give up their statuses in society for what they believe in- Dunne continues a relationship with a dishonoured woman due to her ancestry e.g. being German and Ernest dies in order to go back to his wife, as promised. Love transcends society in both cases.
Ernest’s blind and absolute devotion to his wife is conventional of many male characters in Romance tragedy films. A short list:
Dean – Blue Valentine, 2010
Jack- Titanic, 1997
Rick- Casablanca, 1942
Benjamin- The Graduate, 1967
Romeo- Romeo and Juliet, 1996
Pre-Production- Character Profiles
Ernest Beeby
Ernest is a 24 year old soldier in the First World War, who signed up to join the army in February, 1916. He is a clever, principled and loyal man, who was before the war a farmer, slowly taking over from his father, who had been a farmer all his life, but was now finding it increasingly difficult owing to illness and overwork. Ernest is like any man of his period- he married young, looks after his wife, and signed up to fight for his country, despite not really wanting to go, out of fear of losing his wife, Rose.
He is of average height and build, but is stronger than he looks, having worked on the farm for nearly all his life. When a civilian, he wears standard war time, male clothes e.g. trousers, shirt, braces. In the narrative, he has donned civilian clothing- white shirt, black trousers- which he stole from a house when on the run.
Just before he goes to war, he learns that Rose is pregnant. He is overjoyed, and on screen cannot withhold his emotions. In many ways he is a conventional man of the period, and in others he is quite different, which should appeal to a modern audience. He is far less a supporter of traditional roles, class based systems, public appearances etc. For example, he does not care that he will be viewed as a coward, deserter and villain by all of society, as for him, his sincere and overpowering love for Rose transcends all of these societal consequences.
His wife, Rose is one of the only things that keeps him going throughout the war. He makes two promises to her before he goes: that he won’t get shot by a German, and that he will come back to her at Christmas. He is a man of his word and so he simultaneously fulfils them both. When serving, he finds that his wife has died in childbirth. He cannot face life without her and so to be with her he deserts his platoon, knowing that if he is found, he will be executed by his own army, thus fulfilling both promises. He times it so that he is shot in December.
On his death, the audience should feel a certain catharsis; the sense of loss and the indignity and immorality of the soldiers shot at dawn should become almost an underlying issue which is confused and overpowered by the idea that he is happy in death- he is to, in his mind, be reunited with his wife- following her in death.
Rose Beeby
Rose Beeby is a 23 year old housewife of Ernest. She is less educated than Ernest, as is the custom, but no less head smart. She has blonde hair, average height, average female figure. She wears standard teen dresses, with simple patterns as was the fashion. She is a good and dutiful wife, and holds a love as sincere as Ernest’s for her. She is terrified of Ernest going to war. By now war has become less glamorous in England and people are more aware of the risks involved. Conscription will soon be introduced.
Rose constantly seeks Ernest’s approval, and worries about his reactions e.g. when she tells him she’s pregnant. Other than appearing sincerely in love with Ernest and utterly devoted to him, her role in the actual film will be fairly little. The romance between her and Ernest is uncomplicated and pure- a perfect, domestic, life in the teens. She too holds Ernest’s disregard for normal social boundaries in terms of society’s judgement of her.
When Ernest is away at war, she lives an almost hermit life existence, staying in most of the time- the only real human contact she has is with Ernest’s father, George, who she enjoys the company of because she reminds him of Ernest. She is almost paralysed by fear of losing Ernest.
She dies in childbirth, due to complications with the birth and insufficient medical attention. She was buried in her local churchyard.
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