Figure 2. Sir Laurence Olivier narrates The World at War (1973)

Figure 2. Sir Laurence Olivier narrates The World at War (1973).

A HOLISTIC OUTLOOK ON THE SECOND WORLD WAR


In historical terms, The World at War draws much of its strength from its efforts to create a holistic impression of the conflict addressed. Despite being a British production, the series avoids any sense of Eurocentrism, and instead presents a genuinely international outlook. ‘Episode 6 – Banzai!: Japan (1931-1942)’, ‘Episode 8 – The Desert: North Africa (1940-1943)’, and ‘Episode 14 – It’s a Lovely Day Tomorrow: Burma (1942–1944)’ provide just a few examples of how the series touches upon all four corners of the globe. As such, there is a prevention of a parochial interpretation of the conflict, which might otherwise be evidenced by the ongoing fascination of the British pubic with the Home Front and the ‘Blitz Spirit’. Moreover, The World at War does not concern itself solely with the hallmark actions of the Second World War. For a series shown in 1973, it is remarkable how the programme addresses issues which – to date – have still not received mainstream historical attention. 

‘Episode 18 – Occupation: Holland (1940-1944)’ provides a case in point. The ambiguous experiences of the Netherlands under German occupation are explored on multiple level, even though public appreciation of the competing resistance, passivity and collaboration of the Dutch people in wartime is still not necessarily widespread today. Nor does The World at War confine itself to the parameters of 1939 to 1945. ‘Episode 1 – A New Germany (1933-1939)’ provides essential background context, whilst ‘Episode 25 – Reckoning (April 1945)’ demonstrates conclusively how issues in Europe were far from resolved by the ending of formal conflict

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