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This year marks the 100th anniversary | 0:00:03 | 0:00:05 | |
of the Imperial War Museum. | 0:00:05 | 0:00:07 | |
Founded during the turmoil of the First World War, its aim - | 0:00:07 | 0:00:11 | |
to record the sacrifices made by men and women in times of conflict. | 0:00:11 | 0:00:17 | |
War changes people's lives irreversibly and the artefacts, | 0:00:17 | 0:00:21 | |
documents and recordings on show here in this museum, | 0:00:21 | 0:00:24 | |
are physical reminders of its impact. | 0:00:24 | 0:00:27 | |
Every object here was owned by someone or used by someone, | 0:00:27 | 0:00:31 | |
be they civilian or military and they all tell a story. | 0:00:31 | 0:00:35 | |
The museum has expanded significantly over its 100 years. | 0:00:38 | 0:00:42 | |
Now taking in sites like Duxford Airfield in Cambridgeshire, | 0:00:44 | 0:00:48 | |
the Churchill War Rooms | 0:00:48 | 0:00:51 | |
and HMS Belfast. | 0:00:51 | 0:00:52 | |
Delving into the museum's rich collections, | 0:00:55 | 0:00:58 | |
our team of presenters will discover the stories behind | 0:00:58 | 0:01:01 | |
ten specially-chosen objects. | 0:01:01 | 0:01:03 | |
From a humble wallet carried to the Somme by a brave headmaster... | 0:01:07 | 0:01:10 | |
..to the mighty Spitfire that was part of our finest hour. | 0:01:12 | 0:01:15 | |
What an extraordinary treat this is. | 0:01:15 | 0:01:18 | |
I haven't touched anything in here, by the way, and I'm not going to. | 0:01:18 | 0:01:21 | |
And from a ukulele made from boxes by a prisoner of war... | 0:01:23 | 0:01:27 | |
..to the helmet worn by a true war hero. | 0:01:28 | 0:01:31 | |
-So these are all the guys... -That I saved. -..that you saved? | 0:01:31 | 0:01:34 | |
Oh, my gosh. | 0:01:34 | 0:01:36 | |
Each of these objects tells its own vivid story of Britain at war. | 0:01:38 | 0:01:43 | |
When the Imperial War Museum was founded, | 0:02:01 | 0:02:04 | |
Britain was still at war with Germany and the Home Front was in | 0:02:04 | 0:02:08 | |
the grip of food shortages. | 0:02:08 | 0:02:10 | |
Chef Ainsley Harriott | 0:02:15 | 0:02:17 | |
has come to the Imperial War Museum's cafe to find out about | 0:02:17 | 0:02:20 | |
an object very close to the nation's heart and its stomach. | 0:02:20 | 0:02:24 | |
I've come to the museum today to look at the ration books. | 0:02:26 | 0:02:29 | |
Can you imagine being told you can only have so much sugar, | 0:02:29 | 0:02:33 | |
so much butter? What were they able to actually make with those foods? | 0:02:33 | 0:02:37 | |
So it's going to be a fascinating afternoon for me. | 0:02:37 | 0:02:40 | |
Anthony Richards is the Imperial War Museum's head of documents. | 0:02:41 | 0:02:46 | |
Rationing was introduced very late on in the First World War. | 0:02:46 | 0:02:49 | |
I mean, even today, | 0:02:49 | 0:02:50 | |
we associate rationing with the Second World War, really. | 0:02:50 | 0:02:53 | |
Absolutely, I would never have known it was connected with the | 0:02:53 | 0:02:56 | |
-First World War. -No. This is an example of a ration book from 1918. | 0:02:56 | 0:03:00 | |
If we have a look at it, you can see that you've got tickets for meat... | 0:03:00 | 0:03:05 | |
Oh, yes. | 0:03:05 | 0:03:06 | |
..lard. | 0:03:06 | 0:03:07 | |
I've never seen one of these, you know? | 0:03:07 | 0:03:10 | |
-Butter and margarine. -Butter and margarine. | 0:03:10 | 0:03:12 | |
Look at this. | 0:03:12 | 0:03:13 | |
The newly-formed museum used ration books to encourage people | 0:03:15 | 0:03:19 | |
to donate objects relating to the Great War. | 0:03:19 | 0:03:22 | |
"Also, original letters, sketches, | 0:03:23 | 0:03:26 | |
"poems and other interesting documents sent from any of the | 0:03:26 | 0:03:29 | |
"war areas and all kinds of memorabilia, | 0:03:29 | 0:03:32 | |
"even of trifling character." | 0:03:32 | 0:03:34 | |
Great, isn't it? | 0:03:36 | 0:03:37 | |
-It's wonderful. The old way of speaking English. -I know. | 0:03:37 | 0:03:39 | |
So how did they get all these people | 0:03:39 | 0:03:41 | |
to send so much personal stuff in there? Because it could have been | 0:03:41 | 0:03:45 | |
-something they remember their loved ones by. -Absolutely, | 0:03:45 | 0:03:49 | |
well, right from the museum's origins, | 0:03:49 | 0:03:52 | |
it was decided that the museum would concentrate on personal experience. | 0:03:52 | 0:03:58 | |
Because the original curators of the museum didn't want it to be | 0:03:58 | 0:04:02 | |
-a collection of dead war relics, just big bits of metal. -Sure. | 0:04:02 | 0:04:07 | |
They wanted to be able to tell personal stories. | 0:04:07 | 0:04:10 | |
What type of things would have been made with these ingredients? | 0:04:17 | 0:04:20 | |
Many people would have been baking cakes and things like that and | 0:04:20 | 0:04:25 | |
sending parcels out to the trenches. | 0:04:25 | 0:04:27 | |
Right at the end of the war, | 0:04:27 | 0:04:28 | |
the government was actually producing guidelines as to | 0:04:28 | 0:04:32 | |
particular recipes that you could make | 0:04:32 | 0:04:34 | |
with the minimum of ingredients. | 0:04:34 | 0:04:35 | |
-The famous example is the trench cake. -OK. | 0:04:35 | 0:04:40 | |
This is one I made earlier. | 0:04:40 | 0:04:42 | |
An actual trench cake. | 0:04:43 | 0:04:45 | |
Wow. | 0:04:45 | 0:04:47 | |
Now... | 0:04:47 | 0:04:49 | |
This looks a bit like a scone actually, doesn't it? | 0:04:49 | 0:04:52 | |
It is - very flat. | 0:04:52 | 0:04:54 | |
This is for consumption, then? | 0:04:56 | 0:04:58 | |
Yeah, let's try it. | 0:04:58 | 0:04:59 | |
It is a bit biscuity. | 0:05:00 | 0:05:02 | |
There you are, mate. Get your noshers around that. | 0:05:02 | 0:05:05 | |
Oh, it's quite nice. | 0:05:10 | 0:05:11 | |
-Very nice. -Hm. -Bit dry. | 0:05:11 | 0:05:14 | |
I'll tell you what I'll do, I'll cut it up, and if you don't mind, | 0:05:14 | 0:05:16 | |
I'll have a little wander around the museum and see if we can get a few | 0:05:16 | 0:05:19 | |
-of the visitors to try, see what they think of it? -Good plan. | 0:05:19 | 0:05:21 | |
Yeah, not bad at all. | 0:05:21 | 0:05:23 | |
Please, ladies and gentlemen, | 0:05:24 | 0:05:26 | |
come forward, come and try a bit of our trench cake. | 0:05:26 | 0:05:29 | |
Do you like cake, generally? | 0:05:29 | 0:05:31 | |
OK, so this is the original recipe. | 0:05:31 | 0:05:34 | |
It lacks perhaps a little bit of... | 0:05:34 | 0:05:37 | |
-It's chewy. -What's your feeling? | 0:05:37 | 0:05:39 | |
-Dense. -Dense? | 0:05:39 | 0:05:41 | |
-Very dry. -Very dry? | 0:05:41 | 0:05:43 | |
I love that first... That first bite says everything. | 0:05:45 | 0:05:49 | |
I think they would have been grateful for anything | 0:05:49 | 0:05:52 | |
-out there. -Yeah. -So... | 0:05:52 | 0:05:53 | |
If you'd been fighting in the trenches and your loved one | 0:05:53 | 0:05:57 | |
-sent you this, would you be happy? -Yeah, to have this. | 0:05:57 | 0:06:00 | |
Wouldn't have tea... | 0:06:00 | 0:06:01 | |
..some muddy water, maybe. | 0:06:02 | 0:06:04 | |
Trench cake and muddy water? | 0:06:04 | 0:06:05 | |
Yes. | 0:06:05 | 0:06:07 | |
These ration books were distributed to everyone throughout Britain. | 0:06:09 | 0:06:13 | |
What a way of advertising, | 0:06:13 | 0:06:14 | |
what a way of saying to people, "By the way, | 0:06:14 | 0:06:16 | |
"whilst you're getting your butter and sugar, | 0:06:16 | 0:06:18 | |
"if you've got anything that's in your loft or in your drawer, | 0:06:18 | 0:06:21 | |
"that you can send to the museum to share your story." | 0:06:21 | 0:06:25 | |
Talking with Tony has just brought it home to me, | 0:06:25 | 0:06:27 | |
you're talking about a personal relationship that the museum | 0:06:27 | 0:06:31 | |
had with these families. | 0:06:31 | 0:06:33 | |
The Imperial War Museum's aim to feature personal possessions as well | 0:06:43 | 0:06:47 | |
as military items | 0:06:47 | 0:06:48 | |
has resulted in a hugely diverse collection of objects - | 0:06:48 | 0:06:52 | |
many of which themselves bear the scars of conflict. | 0:06:52 | 0:06:55 | |
This wallet belonged to teacher Robert Smylie. | 0:06:56 | 0:07:00 | |
And I've brought it back to his old school in Suffolk, | 0:07:00 | 0:07:03 | |
where he was headmaster when the First World War broke out. | 0:07:03 | 0:07:07 | |
The school may have changed a bit in the past 100 years, | 0:07:08 | 0:07:11 | |
but the story of Robert Smylie | 0:07:11 | 0:07:13 | |
is still an important part of its history. | 0:07:13 | 0:07:16 | |
I'm really looking forward | 0:07:17 | 0:07:19 | |
to finding out about Robert Smylie himself, | 0:07:19 | 0:07:22 | |
but I want to find out what the young people know about him. | 0:07:22 | 0:07:26 | |
Because it's about them knowing more about their own school, | 0:07:26 | 0:07:29 | |
about their own environment and the people from this area who went away | 0:07:29 | 0:07:33 | |
and never came home. | 0:07:33 | 0:07:35 | |
'Teacher David Grocott has researched the school's history.' | 0:07:35 | 0:07:39 | |
This is Robert Smylie and this photo was taken in 1914. | 0:07:39 | 0:07:44 | |
He had been in position as headmaster for three years when the | 0:07:44 | 0:07:48 | |
First World War broke out. | 0:07:48 | 0:07:50 | |
This is a letter that he sent to all of the parents of the boys | 0:07:50 | 0:07:53 | |
-of Sudbury Grammar School. -"On September 13th, | 0:07:53 | 0:07:56 | |
"I received an official letter asking whether I was prepared to | 0:07:56 | 0:08:00 | |
"accept a commission. | 0:08:00 | 0:08:01 | |
"That is not the kind of work which I prefer to do, | 0:08:01 | 0:08:04 | |
"but there is only one honourable answer to a request made by | 0:08:04 | 0:08:07 | |
"military authorities in time of war." | 0:08:07 | 0:08:11 | |
What is remarkable about Robert Smylie is that he... | 0:08:11 | 0:08:13 | |
..was 40 years old at the outbreak of war. | 0:08:15 | 0:08:17 | |
But he felt a sense of duty and a sense of commitment. | 0:08:17 | 0:08:21 | |
Maybe as a teacher, | 0:08:23 | 0:08:24 | |
Robert Smylie felt he had to continue looking out for the | 0:08:24 | 0:08:28 | |
young men of his country. | 0:08:28 | 0:08:30 | |
By late 1915, he was on the Western Front and in July 1916, | 0:08:30 | 0:08:35 | |
his regiment was sent to the Somme. | 0:08:35 | 0:08:37 | |
Two weeks later, Smylie, now a captain, led his men into battle. | 0:08:39 | 0:08:44 | |
We've got this remarkable artefact from the Battle of the Somme - | 0:08:46 | 0:08:49 | |
Robert Smylie's wallet. | 0:08:49 | 0:08:50 | |
And as you might expect, we've got within it | 0:08:50 | 0:08:53 | |
a picture of his wife and indeed his three children. | 0:08:53 | 0:08:56 | |
Most touchingly, we have, in the centre of this artefact, | 0:08:56 | 0:08:59 | |
this damage here, | 0:08:59 | 0:09:01 | |
which we believe is caused by the bullet that took his life. | 0:09:01 | 0:09:05 | |
Did you have anything similar when you were in service? | 0:09:12 | 0:09:15 | |
Yeah, I think most service people take some sort of memorabilia, | 0:09:15 | 0:09:19 | |
some sort of keepsake, something that attaches you to your family. | 0:09:19 | 0:09:23 | |
Yeah, I had a wallet in... | 0:09:24 | 0:09:26 | |
It was surrounded in a plastic envelope. | 0:09:27 | 0:09:30 | |
Mine got thrown over the side, | 0:09:30 | 0:09:32 | |
because when they stripped off my clothes, they were still ablaze, | 0:09:32 | 0:09:36 | |
so the easiest thing was to cut them off straightaway | 0:09:36 | 0:09:38 | |
and throw them over. | 0:09:38 | 0:09:39 | |
So it's probably still at the bottom of the sea, all sealed still. | 0:09:39 | 0:09:43 | |
But...it had all my poker winnings in it. | 0:09:43 | 0:09:47 | |
'To this day, the school still holds a two-minute silence for | 0:09:49 | 0:09:53 | |
'Robert Smylie every year. | 0:09:53 | 0:09:55 | |
'I've come to talk to some of the students about his legacy.' | 0:09:55 | 0:09:58 | |
How are we, guys? You OK? | 0:09:58 | 0:10:00 | |
-ALL: -Yeah. | 0:10:00 | 0:10:02 | |
What do you think about the fact | 0:10:02 | 0:10:04 | |
that Mr Smylie didn't have to go to war? | 0:10:04 | 0:10:06 | |
He was very brave to do it and | 0:10:06 | 0:10:09 | |
he got a lot of respect from it and things like that. | 0:10:09 | 0:10:12 | |
Cos he didn't have to do it but he did it cos he felt that was | 0:10:12 | 0:10:16 | |
-the right thing to do. -He had three children and yet he still wanted | 0:10:16 | 0:10:20 | |
to go and be a part of all those young people, | 0:10:20 | 0:10:23 | |
people like yourselves, that he'd taught, | 0:10:23 | 0:10:25 | |
he'd been headmaster with and for. | 0:10:25 | 0:10:28 | |
I think in 1914, lots of people were keen to go to war. | 0:10:28 | 0:10:31 | |
Someone of his age wasn't obliged to go but his love for the country, | 0:10:31 | 0:10:35 | |
I suppose, was shown. I think pupils... | 0:10:35 | 0:10:38 | |
I know I certainly would respect his desire to do that. | 0:10:38 | 0:10:41 | |
I'm thrilled that the school has taken on | 0:10:43 | 0:10:46 | |
Robert Smylie's history and his sacrifices. | 0:10:46 | 0:10:50 | |
They have taken it all to heart and that's really important. | 0:10:50 | 0:10:54 | |
I was 16 when I joined up. | 0:10:55 | 0:10:57 | |
A young man with no responsibilities. | 0:10:57 | 0:11:00 | |
But it was very different for Robert Smylie. | 0:11:00 | 0:11:03 | |
He left behind three children and his wife and I find a bit of me is | 0:11:03 | 0:11:08 | |
angry at him for doing that. But you have to respect somebody that makes | 0:11:08 | 0:11:12 | |
a decision and sticks to it, whatever the consequences. | 0:11:12 | 0:11:15 | |
He still went and did his duty. | 0:11:15 | 0:11:18 | |
He still represented and stood in front and led all of his men, | 0:11:18 | 0:11:22 | |
which takes a heck of a lot of courage. | 0:11:22 | 0:11:25 | |
When the First World War ended, | 0:11:36 | 0:11:38 | |
the loss of a generation of men changed the way we commemorated | 0:11:38 | 0:11:42 | |
our fallen soldiers. | 0:11:42 | 0:11:44 | |
Artist Cornelia Parker | 0:11:45 | 0:11:47 | |
is fascinated by ideas of war and memory | 0:11:47 | 0:11:50 | |
and has come to Richmond to look | 0:11:50 | 0:11:52 | |
at an early object from the Imperial War Museum's collection that will | 0:11:52 | 0:11:56 | |
forever be associated with remembrance. | 0:11:56 | 0:11:59 | |
I'm always very interested in the found object | 0:12:00 | 0:12:02 | |
and things that have | 0:12:02 | 0:12:04 | |
become culturally significant, you know, almost cliched. | 0:12:04 | 0:12:07 | |
I'm very interested in how that icon came into being and how it's | 0:12:07 | 0:12:10 | |
manufactured and who makes it | 0:12:10 | 0:12:12 | |
and so the idea of coming here was very exciting. | 0:12:12 | 0:12:14 | |
Brian Love is a tour guide here at the Poppy Factory. | 0:12:16 | 0:12:20 | |
So here, Cornelia, | 0:12:20 | 0:12:22 | |
we've got a poppy that was made later, 1929. | 0:12:22 | 0:12:26 | |
It's made of silk, it's got hair bristles in it | 0:12:26 | 0:12:29 | |
and it has a metal stud | 0:12:29 | 0:12:31 | |
which says, "Haig Fund". | 0:12:31 | 0:12:32 | |
So this poppy is part of the Imperial War Museum's collection, | 0:12:38 | 0:12:41 | |
but I think you have something to do with it, don't you? | 0:12:41 | 0:12:43 | |
This is the one I gave them. | 0:12:43 | 0:12:45 | |
So I'm proud to see it again, | 0:12:45 | 0:12:47 | |
it's like a relative, a long-lost relative. | 0:12:47 | 0:12:50 | |
The power of the poppy as a symbol, has its roots in the battlefields | 0:12:51 | 0:12:54 | |
of the Western Front. | 0:12:54 | 0:12:56 | |
When the servicemen first went to France, | 0:12:57 | 0:13:00 | |
they found corn poppies growing on devastated areas of ground and they | 0:13:00 | 0:13:04 | |
used to pick them and wear them in their felt caps, then, | 0:13:04 | 0:13:07 | |
before steel helmets, | 0:13:07 | 0:13:09 | |
as a lucky talisman. | 0:13:09 | 0:13:10 | |
Since the First World War, | 0:13:12 | 0:13:13 | |
the poppy has become a universal symbol of remembrance. | 0:13:13 | 0:13:17 | |
When Cornelia came here back in 2014 to research her work on war and | 0:13:18 | 0:13:23 | |
memory, it wasn't the poppies themselves that most inspired her. | 0:13:23 | 0:13:27 | |
This machine was the thing I saw when I first came here. | 0:13:28 | 0:13:31 | |
I was so struck by all the holes | 0:13:31 | 0:13:34 | |
being punched out of this piece of paper. | 0:13:34 | 0:13:36 | |
It puts hairs on the back of my neck, | 0:13:36 | 0:13:38 | |
it's almost like the loss of all the men. | 0:13:38 | 0:13:40 | |
I just thought, "This is what I'm looking for." | 0:13:40 | 0:13:43 | |
In the final artwork, | 0:13:47 | 0:13:49 | |
Cornelia hangs swathes of this leftover red poppy paper | 0:13:49 | 0:13:53 | |
in an installation entitled War Room. | 0:13:53 | 0:13:55 | |
Somehow, the paper with the poppy holes in it meant even more to me | 0:14:00 | 0:14:04 | |
than the actual poppies. It's almost like the negative space, it's like, | 0:14:04 | 0:14:08 | |
-"Where did all the flowers go?" -Yes, absolutely. | 0:14:08 | 0:14:10 | |
Another contemporary artist interested in ideas of commemoration | 0:14:16 | 0:14:20 | |
and sacrifice is Steve McQueen. | 0:14:20 | 0:14:22 | |
His work on the Iraq war, Queen And Country, | 0:14:23 | 0:14:27 | |
is on permanent display here at the Imperial War Museum, London. | 0:14:27 | 0:14:30 | |
I think it was in 2003 when I went to Iraq for the first time. | 0:14:31 | 0:14:37 | |
The one thing I did come away with was the camaraderie of the troops. | 0:14:38 | 0:14:41 | |
I thought, "These people have to be represented, | 0:14:41 | 0:14:44 | |
"and represented in a way | 0:14:44 | 0:14:46 | |
"that people could participate in their memory." | 0:14:46 | 0:14:49 | |
And I started thinking about war letters and stuff like that. | 0:14:49 | 0:14:52 | |
Steve decided to use portrait photographs of men and women who had | 0:14:55 | 0:14:59 | |
died in Iraq and turned them into sheets of postage stamps. | 0:14:59 | 0:15:03 | |
At the time, living in Amsterdam, | 0:15:06 | 0:15:07 | |
there was a stamp about van Gogh and his image was on the stamp, | 0:15:07 | 0:15:10 | |
this little portrait. I thought, | 0:15:10 | 0:15:12 | |
"Oh, portraits and the portraits of the troops." | 0:15:12 | 0:15:14 | |
When I first was researching this... | 0:15:14 | 0:15:16 | |
the only people that could appear on a stamp, who weren't royalty, | 0:15:16 | 0:15:19 | |
was if you were dead. | 0:15:19 | 0:15:20 | |
I thought, "OK, well, let's put two and two together." | 0:15:20 | 0:15:23 | |
-Can we have a look at one? -Sure. | 0:15:23 | 0:15:25 | |
Lance Corporal Thomas Keys. | 0:15:31 | 0:15:33 | |
Yeah. | 0:15:33 | 0:15:35 | |
20 years old. | 0:15:35 | 0:15:37 | |
I wanted those people recognised in a way which wasn't monumental, | 0:15:40 | 0:15:44 | |
but was within our everyday. | 0:15:44 | 0:15:46 | |
That's why you chose stamps. | 0:15:46 | 0:15:47 | |
The idea of the face being on the letter. | 0:15:47 | 0:15:49 | |
Yes. For me, I wanted to sort of | 0:15:49 | 0:15:52 | |
get into the bloodstream of the country in a way which didn't come | 0:15:52 | 0:15:56 | |
-through the media. -Yeah. -Didn't come through, er, you know... | 0:15:56 | 0:15:59 | |
I wanted to come through the everyday. | 0:15:59 | 0:16:01 | |
-Come through the letterbox. -Exactly. | 0:16:01 | 0:16:03 | |
That whole idea that the country | 0:16:03 | 0:16:05 | |
could be participating within the active recognition of these troops | 0:16:05 | 0:16:09 | |
who had basically given up their life for Queen and country. | 0:16:09 | 0:16:13 | |
But the stamps with the faces of | 0:16:14 | 0:16:16 | |
those who had given their lives in Iraq | 0:16:16 | 0:16:18 | |
were never sent. | 0:16:18 | 0:16:19 | |
-We wanted it to be actual stamps... -Yes... | 0:16:22 | 0:16:25 | |
..but it's one of those things where the Royal Mail have to sort of... | 0:16:25 | 0:16:28 | |
have to make the decision of what they want to do. | 0:16:28 | 0:16:32 | |
This, for me, is not an artwork | 0:16:32 | 0:16:34 | |
until it's actually realised as the artwork that it was intended. | 0:16:34 | 0:16:36 | |
-And activated. -Exactly. | 0:16:36 | 0:16:38 | |
Because they are in drawers, | 0:16:38 | 0:16:40 | |
it's like a sarcophagus, they're in the dark. | 0:16:40 | 0:16:43 | |
And the viewer has to pull it open and let the light in. | 0:16:43 | 0:16:47 | |
Absolutely. And I think the whole idea of having that intimacy was | 0:16:47 | 0:16:50 | |
very important for me. This was the only way I could actually | 0:16:50 | 0:16:53 | |
perceive it in a way, for now, | 0:16:53 | 0:16:56 | |
that people could see what I was wanting to do. | 0:16:56 | 0:16:58 | |
So it's the unfinished artwork, basically. | 0:16:58 | 0:17:01 | |
I think we've both chosen to use the mass-produced and the mechanised | 0:17:03 | 0:17:09 | |
to deal with something quite, you know, raw. | 0:17:09 | 0:17:12 | |
Rows and rows of stamps, it's a mechanised process. | 0:17:12 | 0:17:15 | |
Going to the Poppy Factory | 0:17:15 | 0:17:16 | |
and seeing millions of poppies being punched out | 0:17:16 | 0:17:19 | |
is a similar kind of production line. | 0:17:19 | 0:17:21 | |
Whereas my commemoration was to do with the absence, you know, | 0:17:21 | 0:17:24 | |
the emptiness, the holes. | 0:17:24 | 0:17:26 | |
The people who've gone. | 0:17:26 | 0:17:28 | |
And his were the faces of the dead. | 0:17:28 | 0:17:30 | |
And so it's a brilliant way, | 0:17:30 | 0:17:32 | |
and a very quiet way, | 0:17:32 | 0:17:34 | |
of dealing with all that turmoil and chaos and anguish, | 0:17:34 | 0:17:38 | |
which wars are all about. | 0:17:38 | 0:17:40 | |
AIR RAID SIRENS BLARE | 0:17:46 | 0:17:48 | |
When war broke out again in 1939, | 0:17:54 | 0:17:57 | |
the Imperial War Museum was 22 years old. | 0:17:57 | 0:18:01 | |
It would play a major role in recording the stories of those who | 0:18:01 | 0:18:05 | |
fought and died in this new global conflict. | 0:18:05 | 0:18:08 | |
Anita Rani is going in search of an object that belonged to one of the | 0:18:11 | 0:18:15 | |
millions of soldiers from Britain's colonies who served | 0:18:15 | 0:18:19 | |
in the Second World War. | 0:18:19 | 0:18:21 | |
I'm here to find out about a silver Sikh bangle, called a kara, | 0:18:21 | 0:18:25 | |
that belonged to Major Parkash Singh, | 0:18:25 | 0:18:27 | |
who won the Victoria Cross during the Second World War. | 0:18:27 | 0:18:31 | |
Because my own grandfather was a Sikh who fought as part of the | 0:18:31 | 0:18:35 | |
British Indian Army, it resonates quite deeply. | 0:18:35 | 0:18:38 | |
During World War II, with two-and-a-half-million recruits, | 0:18:41 | 0:18:45 | |
the British Indian Army | 0:18:45 | 0:18:46 | |
was the largest all-volunteer force in the world. | 0:18:46 | 0:18:49 | |
Diane Lees is the Imperial War Museum's director-general. | 0:18:51 | 0:18:55 | |
Wow! Can I...? | 0:18:55 | 0:18:57 | |
-With the gloves. -With the gloves, obviously. | 0:18:57 | 0:19:00 | |
Here it is. | 0:19:00 | 0:19:02 | |
Major Parkash Singh's bangle. | 0:19:03 | 0:19:06 | |
-His kara. -His kara, yes. | 0:19:06 | 0:19:07 | |
For most people to look at, it might just seem like a bracelet, | 0:19:07 | 0:19:11 | |
but actually, that is so significant. | 0:19:11 | 0:19:13 | |
-Yes. -And this would have been there throughout the war with him. | 0:19:13 | 0:19:17 | |
And you can see that it's quite battered, | 0:19:17 | 0:19:19 | |
it's lived a bit, this one, hasn't it? | 0:19:19 | 0:19:21 | |
-Yes. -That's incredible. -It's a beautiful object. | 0:19:21 | 0:19:23 | |
When war spread to the Far East, Parkash Singh was one of thousands | 0:19:33 | 0:19:37 | |
of Indian soldiers sent to Burma to fight the Japanese. | 0:19:37 | 0:19:40 | |
His heroic actions on the battlefield were to win him | 0:19:42 | 0:19:45 | |
the highest possible award for bravery. | 0:19:45 | 0:19:47 | |
So, these are his medals? | 0:19:49 | 0:19:51 | |
These are his medals. | 0:19:51 | 0:19:52 | |
-Can I touch them? -Please, do. | 0:19:52 | 0:19:54 | |
I'm so excited. | 0:19:55 | 0:19:56 | |
This is... Wow! | 0:19:56 | 0:19:58 | |
Wow, they're heavy. That's quite some collection there. | 0:19:58 | 0:20:01 | |
-Yes. -But the one I'm particularly interested in | 0:20:01 | 0:20:03 | |
is this one here, right? | 0:20:03 | 0:20:04 | |
Is that the one? That's the VC, yes. | 0:20:04 | 0:20:06 | |
-The VC. -That one there. | 0:20:06 | 0:20:07 | |
In January 1943, | 0:20:11 | 0:20:13 | |
Parkash Singh's convoy came under attack from the Japanese. | 0:20:13 | 0:20:16 | |
Many of his unit were trapped in their burning vehicles. | 0:20:20 | 0:20:23 | |
He went back to get his compatriots, so he dragged several people out, | 0:20:24 | 0:20:29 | |
and put them in his vehicle, and took them away from the fire. | 0:20:29 | 0:20:32 | |
But he went back repeatedly, | 0:20:32 | 0:20:33 | |
and I think that's the real courage in the story. | 0:20:33 | 0:20:35 | |
He didn't only do it once. | 0:20:35 | 0:20:37 | |
His officer was a chap called Lieutenant Burt Causey, | 0:20:37 | 0:20:40 | |
who had been injured in the legs along with his co-driver, and | 0:20:40 | 0:20:46 | |
Burt said, "No, leave me." | 0:20:46 | 0:20:48 | |
He said, "I've come all this way back, I'm taking you out. | 0:20:48 | 0:20:51 | |
"I'm going to get you out." | 0:20:51 | 0:20:52 | |
So he then, actually, under fire, | 0:20:52 | 0:20:54 | |
hooked up this carrier to his transport and dragged them out. | 0:20:54 | 0:20:58 | |
Wow, that is a real act of bravery. | 0:20:58 | 0:21:00 | |
What a...in the nicest way, total nutter! | 0:21:00 | 0:21:04 | |
I mean, amazing. | 0:21:04 | 0:21:05 | |
Just something in him said, "I need to get in there, | 0:21:05 | 0:21:08 | |
"put my own life at risk..." | 0:21:08 | 0:21:10 | |
-Yes. -"..and do whatever it takes to get them out." | 0:21:10 | 0:21:13 | |
-Yes. -And to be sitting with the main man's kara. | 0:21:13 | 0:21:16 | |
-Amazing, yes, absolutely. -I want to pick it up again. -Do. | 0:21:16 | 0:21:18 | |
-And try it on? No, I don't. -No. | 0:21:18 | 0:21:21 | |
-I wouldn't advise you to. -No! | 0:21:23 | 0:21:25 | |
I always have to try and push it. | 0:21:25 | 0:21:27 | |
(Walk out with it.) | 0:21:27 | 0:21:28 | |
These memorial gates on London's Hyde Park Corner | 0:21:32 | 0:21:35 | |
were erected to honour the men and women from the British colonies who | 0:21:35 | 0:21:39 | |
volunteered to fight in two world wars. | 0:21:39 | 0:21:41 | |
And under the dome of the small pavilion are written names of all | 0:21:41 | 0:21:45 | |
those who won the Victoria Cross. | 0:21:45 | 0:21:48 | |
Anita is here to meet Major Parkash Singh's granddaughter, Amrita. | 0:21:49 | 0:21:53 | |
Amrita, what an incredible grandfather you had. | 0:21:54 | 0:21:57 | |
-What was he like? -Predominantly, | 0:21:57 | 0:21:59 | |
my grandfather was a man of real principle. | 0:21:59 | 0:22:02 | |
What was important to him was to have a strong character. | 0:22:02 | 0:22:06 | |
And have a backbone. | 0:22:06 | 0:22:07 | |
And if you knew you had to do the right thing, then do it, | 0:22:07 | 0:22:10 | |
regardless of what other people said. | 0:22:10 | 0:22:12 | |
Shall we go and see his name? | 0:22:12 | 0:22:13 | |
-Yes. -Shall we do it? Come on. You can show me where it is. | 0:22:13 | 0:22:16 | |
32 Indian soldiers were awarded the Victoria Cross in World War II. | 0:22:18 | 0:22:23 | |
Relative to their numbers, this was more than in any other regiments. | 0:22:23 | 0:22:29 | |
So his name is actually right there. | 0:22:29 | 0:22:32 | |
-There he is. -Parkash Singh L.Hav. | 0:22:32 | 0:22:35 | |
Wow. Is it incredible to see his name up there? | 0:22:35 | 0:22:38 | |
-What's the feeling? -Well, it's there, it's written in stone. | 0:22:38 | 0:22:42 | |
It's there for a very, very long time. | 0:22:42 | 0:22:44 | |
For many people to see. | 0:22:44 | 0:22:46 | |
Your grandfather, and all the others whose names are up there, | 0:22:46 | 0:22:49 | |
represent the two-and-a-half-million Indian men | 0:22:49 | 0:22:52 | |
that fought in the Second World War, | 0:22:52 | 0:22:54 | |
that we... You know, for many years, were overlooked. | 0:22:54 | 0:22:59 | |
I was very lucky to have been asked to several events, | 0:22:59 | 0:23:03 | |
VC and GC reunions. | 0:23:03 | 0:23:05 | |
And I was able to meet several of them. | 0:23:05 | 0:23:07 | |
And they all have something very similar, they are all very reserved. | 0:23:08 | 0:23:12 | |
And they have a sort of twinkle in their eye. | 0:23:12 | 0:23:15 | |
And when you read about what they've done, | 0:23:15 | 0:23:17 | |
you know that these men are cut from a different cloth. | 0:23:17 | 0:23:21 | |
Meeting his granddaughter was fantastic, | 0:23:24 | 0:23:26 | |
especially looking at his name on the memorial over there. | 0:23:26 | 0:23:31 | |
I felt fuzzy, and very proud of her grandfather. | 0:23:31 | 0:23:36 | |
The memorial was only built in 2002. | 0:23:37 | 0:23:40 | |
And we know that around five million men from those countries fought in | 0:23:40 | 0:23:45 | |
the First and the Second World War. | 0:23:45 | 0:23:47 | |
And it's really important to be able to tell those stories. | 0:23:47 | 0:23:49 | |
And when I met Diane at the Imperial War Museum, she said, | 0:23:49 | 0:23:53 | |
"We call them our hidden stories." | 0:23:53 | 0:23:55 | |
Well, not so hidden any more. | 0:23:55 | 0:23:57 | |
As the fighting in World War II spread across the globe, | 0:24:06 | 0:24:10 | |
back home, Britain was engaged in a battle for the skies. | 0:24:10 | 0:24:13 | |
RAF Duxford in Cambridgeshire, and its brave fighter pilots, | 0:24:16 | 0:24:20 | |
played a key role in the country's air defences. | 0:24:20 | 0:24:23 | |
Duxford is now part of the Imperial War Museums and is still | 0:24:25 | 0:24:29 | |
a working airfield. | 0:24:29 | 0:24:31 | |
Comedian Al Murray has a passion for wartime aviation, | 0:24:31 | 0:24:34 | |
and is fascinated by Duxford's most glamorous object, the Spitfire. | 0:24:34 | 0:24:39 | |
I grew up in the '70s, when Action Man, Airfix, | 0:24:40 | 0:24:44 | |
the Battle Of Britain movie, all that stuff was very, | 0:24:44 | 0:24:46 | |
very much a big part of childhood masculine culture. | 0:24:46 | 0:24:50 | |
And I'm very much a product of the Airfix age. | 0:24:50 | 0:24:53 | |
I would come here to check the colour on the aeroplanes, | 0:24:53 | 0:24:56 | |
to make sure I was making my Airfix models...getting them right. | 0:24:56 | 0:24:59 | |
So this place, I mean, you know, that's a Mk XXIV. | 0:24:59 | 0:25:04 | |
It's just a brilliant place to be. | 0:25:04 | 0:25:06 | |
During the Battle of Britain, the nerve centre at RAF Duxford was | 0:25:08 | 0:25:11 | |
the operations room. | 0:25:11 | 0:25:13 | |
I'm really lucky that I've been allowed down here | 0:25:14 | 0:25:16 | |
to stand right next to this, | 0:25:16 | 0:25:18 | |
cos this is a real... a very, very big treat. | 0:25:18 | 0:25:21 | |
Represented on these blocks, | 0:25:21 | 0:25:22 | |
you've got the number of the enemy formations, | 0:25:22 | 0:25:25 | |
the estimated number of aircraft, and then the height it's flying at, | 0:25:25 | 0:25:29 | |
so 12,000 feet, 10,000 feet. | 0:25:29 | 0:25:32 | |
-NEWSREEL: -Here comes the Luftwaffe. Hundreds of planes. | 0:25:32 | 0:25:35 | |
Bombers, fighters, dive bombers. | 0:25:35 | 0:25:38 | |
And then, on top, | 0:25:38 | 0:25:40 | |
these things on top are the squadrons that have been sent from | 0:25:40 | 0:25:43 | |
Duxford to attack these enemy formations. | 0:25:43 | 0:25:46 | |
The RAF came, facing odds of six, eight, ten to one, | 0:25:46 | 0:25:51 | |
shouting the old hunting cry, "Tally-ho!" | 0:25:51 | 0:25:54 | |
And it's...it's just remarkable | 0:25:58 | 0:26:00 | |
how important a room like this was. | 0:26:00 | 0:26:03 | |
Big squadron, lots of fighters, | 0:26:03 | 0:26:05 | |
fate of the country, you know, on a table like this. | 0:26:05 | 0:26:08 | |
Duxford's dramatic heyday may be a distant memory, | 0:26:17 | 0:26:21 | |
but, for Al, it's still a magical place. | 0:26:21 | 0:26:23 | |
John Romain is the pilot of the Imperial War Museum's | 0:26:24 | 0:26:28 | |
very own working Spitfire. | 0:26:28 | 0:26:30 | |
Tell me about this beautiful, beautiful Spitfire. | 0:26:30 | 0:26:33 | |
This one's got particular history to Duxford. | 0:26:33 | 0:26:36 | |
-Right. -Because it flew from Duxford in 1940, | 0:26:36 | 0:26:39 | |
and was used on the Dunkirk campaign. | 0:26:39 | 0:26:41 | |
-Wow! -The day that it was lost, it shot down two Stukas, | 0:26:41 | 0:26:46 | |
and then was hit, belly landed on the beach, | 0:26:46 | 0:26:49 | |
and then it just sunk away and disappeared. | 0:26:49 | 0:26:52 | |
But the aeroplane then came back to the surface in the early 1980s. | 0:26:52 | 0:26:56 | |
There was a big shift of sand on the French coast, | 0:26:56 | 0:26:59 | |
and it popped back out. | 0:26:59 | 0:27:01 | |
Amazing. The Spitfire always had a reputation | 0:27:01 | 0:27:03 | |
for being a wonderful aeroplane to fly, | 0:27:03 | 0:27:05 | |
and if anyone's going to know that, it's you. | 0:27:05 | 0:27:08 | |
As a fighter, it's a lovely thing to fly. | 0:27:08 | 0:27:10 | |
And it looks after you. | 0:27:10 | 0:27:12 | |
You know, we all talk in pilot terms of the aeroplane "talks to you" | 0:27:12 | 0:27:16 | |
if it's going to do anything bad like stalling, | 0:27:16 | 0:27:18 | |
or anything like that, | 0:27:18 | 0:27:19 | |
and a Spitfire does. | 0:27:19 | 0:27:21 | |
It really does look after the pilot. | 0:27:21 | 0:27:23 | |
Each aeroplane has got its own character. | 0:27:23 | 0:27:25 | |
Which is lovely. And they all... they sort of smell different, | 0:27:25 | 0:27:28 | |
they do things slightly different. | 0:27:28 | 0:27:30 | |
But they're all gorgeous, of course. | 0:27:30 | 0:27:32 | |
OK. Can I find out what it smells like? | 0:27:32 | 0:27:34 | |
-Yeah, absolutely. -Am I allowed in? | 0:27:34 | 0:27:36 | |
We'll get you in. | 0:27:36 | 0:27:37 | |
-So, hand on here. -Yep. | 0:27:37 | 0:27:40 | |
-Right foot there, pull yourself up. -AL GRUNTS | 0:27:40 | 0:27:42 | |
There we go. Then swing your right leg over and stand on the seat. | 0:27:44 | 0:27:49 | |
-And then... -I'm not as lithe as I was. | 0:27:49 | 0:27:52 | |
And hold on to the front screen. | 0:27:52 | 0:27:54 | |
This is for smaller men, isn't it? | 0:27:54 | 0:27:56 | |
Then just lower yourself down. | 0:28:00 | 0:28:02 | |
As I say, this is a Mk I, so it's the real basic Spitfire. | 0:28:02 | 0:28:05 | |
Yep. This is no frills, isn't it? | 0:28:05 | 0:28:08 | |
Absolutely. | 0:28:08 | 0:28:10 | |
What do you navigate with in here? | 0:28:18 | 0:28:20 | |
Navigate with a compass, which is down there. | 0:28:20 | 0:28:22 | |
-OK. -And a stopwatch and a map. | 0:28:22 | 0:28:25 | |
That's how they used to navigate. | 0:28:25 | 0:28:26 | |
So they certainly didn't have things like GPS, or... | 0:28:26 | 0:28:29 | |
No, so very brave men flying these, really. | 0:28:29 | 0:28:32 | |
They were all young, you know. And I think sending a 19-year-old airborne | 0:28:32 | 0:28:36 | |
in one of these in 1940, in a lot of ways, they didn't see the danger. | 0:28:36 | 0:28:40 | |
No. | 0:28:40 | 0:28:41 | |
-Or if they did, they accepted it. -Yes. | 0:28:43 | 0:28:46 | |
This is... What an extraordinary treat this is. | 0:28:46 | 0:28:49 | |
What a thing. I'm not going to... | 0:28:49 | 0:28:51 | |
I haven't touched anything, by the way. | 0:28:51 | 0:28:53 | |
And I'm not going to. | 0:28:53 | 0:28:54 | |
-NEWSREEL: -And the RAF kept on flying. | 0:28:56 | 0:28:59 | |
These two men with wings, alone in the sky, | 0:28:59 | 0:29:01 | |
behind their motors and machine guns, | 0:29:01 | 0:29:04 | |
were smashing the whole Nazi plan of world conquest. | 0:29:04 | 0:29:07 | |
The really strange thing about sitting in the cockpit | 0:29:11 | 0:29:14 | |
of a Mk I Spitfire is these... | 0:29:14 | 0:29:15 | |
Even the colour, the internal colour of the cockpit, | 0:29:17 | 0:29:19 | |
takes me back to being, you know, seven, eight years old. | 0:29:19 | 0:29:22 | |
That brown and green colour scheme on the wing is deeply imprinted in | 0:29:22 | 0:29:26 | |
my memory, but also you really get a sense of | 0:29:26 | 0:29:30 | |
the confines of this cockpit. | 0:29:30 | 0:29:33 | |
The dangers. | 0:29:33 | 0:29:34 | |
The very centre of the aeroplane is the trigger for the machine gun. | 0:29:34 | 0:29:38 | |
GUNFIRE | 0:29:38 | 0:29:40 | |
This is a beautiful aircraft, but it's a killing machine, | 0:29:41 | 0:29:44 | |
no two ways about it. | 0:29:44 | 0:29:45 | |
Although I am, you know, I'm amazingly fortunate to be able | 0:29:45 | 0:29:49 | |
to do this, to sit in here, it's such a privilege. Crazy. | 0:29:49 | 0:29:52 | |
While above ground Britain was undergoing the most deadly onslaught | 0:30:05 | 0:30:08 | |
in its history, | 0:30:08 | 0:30:10 | |
deep under the streets of London the commanding officers of the | 0:30:10 | 0:30:14 | |
Army, Navy and Air Force oversaw the war's progress from | 0:30:14 | 0:30:17 | |
the Cabinet War Rooms. | 0:30:17 | 0:30:19 | |
Like Duxford, this network of tunnels is now part of the | 0:30:21 | 0:30:25 | |
Imperial War Museum. | 0:30:25 | 0:30:27 | |
In her 40-year broadcasting career, Kate Adie has reported | 0:30:28 | 0:30:32 | |
from conflicts around the world. | 0:30:32 | 0:30:35 | |
She's come to find out about some of the people who worked down here, | 0:30:35 | 0:30:39 | |
behind the scenes of Churchill's campaign. | 0:30:39 | 0:30:41 | |
The map room shows the enormous scope of this war, | 0:30:45 | 0:30:49 | |
right round the globe. | 0:30:49 | 0:30:50 | |
This is the heart of the operation, in the Cabinet War Rooms. | 0:30:52 | 0:30:56 | |
This is actually where the war was run from. | 0:30:56 | 0:30:59 | |
It's extraordinary. | 0:30:59 | 0:31:01 | |
And you see tiny, tiny holes, hundreds, several thousand, | 0:31:01 | 0:31:05 | |
where the pins have gone in, a ship, a convoy, some action in the war. | 0:31:05 | 0:31:12 | |
The orders decided on in this room would be sent to the typing pool | 0:31:17 | 0:31:20 | |
next door. | 0:31:20 | 0:31:22 | |
Churchill stated several times during the war that he wasn't really | 0:31:22 | 0:31:26 | |
interested in women taking any kind of role | 0:31:26 | 0:31:30 | |
in fighting forces or forward positions. | 0:31:30 | 0:31:33 | |
It was even difficult to get women on ships, when they had to travel. | 0:31:33 | 0:31:38 | |
Even accompanying him on his foreign visits. | 0:31:38 | 0:31:41 | |
And therefore, women were doing what, traditionally, | 0:31:41 | 0:31:45 | |
they did before the war, they were the typists. | 0:31:45 | 0:31:48 | |
Kate has come to meet Joy Hunter, who worked as a typist | 0:31:49 | 0:31:54 | |
in the War Rooms from 1943 to 1945. | 0:31:54 | 0:31:57 | |
Tell me what it was first like walking down the stairs, | 0:31:57 | 0:31:59 | |
coming in here. | 0:31:59 | 0:32:01 | |
I think it was rather frightening, actually. | 0:32:01 | 0:32:03 | |
Because we had to press a button to get in. | 0:32:03 | 0:32:05 | |
We were locked in. | 0:32:05 | 0:32:06 | |
So there were Marines on the door, | 0:32:06 | 0:32:08 | |
and we really didn't know what we were | 0:32:08 | 0:32:10 | |
-coming into. -What was your first impression? | 0:32:10 | 0:32:14 | |
Underground. Electric light. | 0:32:14 | 0:32:17 | |
-Very stuffy. -Lots of cigarette smoke. | 0:32:17 | 0:32:19 | |
Of course! A lot of cigarette smoke, and I suppose there was an air-con, | 0:32:19 | 0:32:22 | |
but not a very good one, I think. | 0:32:22 | 0:32:24 | |
You're coming into a place where, central to your life, | 0:32:24 | 0:32:27 | |
is the wonderful typewriter. | 0:32:27 | 0:32:30 | |
-JOY CHUCKLES -Yes. | 0:32:30 | 0:32:32 | |
Did you actually like typing? | 0:32:39 | 0:32:41 | |
I found it quite difficult at the time. | 0:32:41 | 0:32:43 | |
Of course, when we were learning, it was awful, | 0:32:43 | 0:32:45 | |
really, because we had to type with our gas masks on, | 0:32:45 | 0:32:48 | |
type to music, and I'm slightly musical so, you know, | 0:32:48 | 0:32:51 | |
a three-letter word with a space-bar was fine - dum, de, de, dum, de, | 0:32:51 | 0:32:55 | |
one, two, three, four. | 0:32:55 | 0:32:56 | |
When you got to five-letter words and then the space-bar, | 0:32:56 | 0:32:59 | |
then another five, it didn't fit in too well, | 0:32:59 | 0:33:01 | |
so I don't think I was a very brilliant typist. | 0:33:01 | 0:33:03 | |
I did get 100 words a minute, so I did get there in six months. | 0:33:03 | 0:33:07 | |
Were you aware of what you were typing? | 0:33:07 | 0:33:10 | |
Oh, yes, yes. | 0:33:10 | 0:33:11 | |
It was all planned. We were in the joint planning secretariat, | 0:33:11 | 0:33:14 | |
responsible to three senior officers from the three services. | 0:33:14 | 0:33:17 | |
You really felt you were in the centre. | 0:33:17 | 0:33:19 | |
I actually typed the battle orders for D-Day, with other people | 0:33:19 | 0:33:24 | |
of course checking and everything, thank goodness. | 0:33:24 | 0:33:26 | |
I mean, otherwise, I might have sent them all to Spain instead of | 0:33:26 | 0:33:29 | |
wherever they should have gone to! | 0:33:29 | 0:33:31 | |
Was there much talk? | 0:33:31 | 0:33:33 | |
Or was it very disciplined? | 0:33:33 | 0:33:35 | |
We didn't talk. We weren't allowed to talk while we worked. | 0:33:35 | 0:33:38 | |
So there was no conversation. | 0:33:38 | 0:33:40 | |
The people I worked with, for instance, I did know their names, | 0:33:40 | 0:33:43 | |
but I didn't know where they came from or where they lived, | 0:33:43 | 0:33:46 | |
or whether they were married or what family they'd got. | 0:33:46 | 0:33:49 | |
It's very top secret all the time. | 0:33:49 | 0:33:51 | |
Were you glad you did it? | 0:33:51 | 0:33:53 | |
Do you look back on it | 0:33:53 | 0:33:55 | |
with a fond feeling? | 0:33:55 | 0:33:58 | |
I do, actually. Much more now than at the time. | 0:33:58 | 0:34:02 | |
And I realise now that I was very, very privileged. | 0:34:02 | 0:34:05 | |
You'd contributed to the war. | 0:34:05 | 0:34:08 | |
Oh, only as everybody else did! | 0:34:08 | 0:34:10 | |
A minute cog. | 0:34:10 | 0:34:12 | |
This was the hub of all the thinking | 0:34:15 | 0:34:17 | |
and the planning and the orders going out. | 0:34:17 | 0:34:21 | |
Joy was at the very centre of it, but there she was, | 0:34:21 | 0:34:25 | |
not telling anyone what she was doing. | 0:34:25 | 0:34:29 | |
Not family, not friends, not even talking to the other girls. | 0:34:29 | 0:34:33 | |
It's extraordinary, isn't it? | 0:34:33 | 0:34:35 | |
Just typing away, that clacking typewriter, | 0:34:35 | 0:34:39 | |
right at the heart of the war. | 0:34:39 | 0:34:41 | |
BELL TOLLS | 0:34:45 | 0:34:48 | |
During World War II, | 0:34:51 | 0:34:53 | |
thousands of Allied servicemen were taken prisoner in the Far East. | 0:34:53 | 0:34:57 | |
The objects they brought back home from the prison camps in Burma are | 0:34:58 | 0:35:02 | |
a poignant and often surprising part | 0:35:02 | 0:35:04 | |
of the Imperial War Museum's collection. | 0:35:04 | 0:35:07 | |
Ex-servicemen JJ Chalmers has come to IWM North on Salford Quays. | 0:35:08 | 0:35:13 | |
I'm here to see a ukulele that was built by a prisoner of war | 0:35:15 | 0:35:19 | |
in the Far East during the Second World War. | 0:35:19 | 0:35:22 | |
I served in the Royal Marines for ten years, | 0:35:22 | 0:35:24 | |
and I served in Afghanistan. | 0:35:24 | 0:35:26 | |
Now, clearly, I wasn't a prisoner of war, | 0:35:26 | 0:35:28 | |
and even from my experience of conflict myself, | 0:35:28 | 0:35:32 | |
it's just on another level. | 0:35:32 | 0:35:34 | |
When Singapore fell to the Japanese in 1942 | 0:35:37 | 0:35:40 | |
it was the largest surrender | 0:35:40 | 0:35:42 | |
of British-led military personnel in history. | 0:35:42 | 0:35:46 | |
80,000 Allied servicemen were captured | 0:35:46 | 0:35:50 | |
and many were sent to work on the infamous Burma Railway. | 0:35:50 | 0:35:53 | |
Charlotte Czyzyk is a researcher here at IWM North. | 0:35:56 | 0:35:59 | |
How bad were the conditions there? | 0:36:00 | 0:36:03 | |
Thousands of people died, and many became seriously ill. | 0:36:03 | 0:36:05 | |
They were made to work for about 12 hours a day | 0:36:05 | 0:36:08 | |
on very little food, often just some rice. | 0:36:08 | 0:36:11 | |
Thomas Boardman was one of a handful of extraordinary men | 0:36:11 | 0:36:15 | |
whose creativity provided an escape from the horrors of captivity. | 0:36:15 | 0:36:19 | |
This is a ukulele that he made while he was a prisoner. | 0:36:21 | 0:36:25 | |
He got hold of scraps of wood, things like from Red Cross boxes, | 0:36:25 | 0:36:28 | |
things like that. He also got the telephone wire | 0:36:28 | 0:36:31 | |
that he's used for the strings. | 0:36:31 | 0:36:33 | |
You can imagine him sort of sitting round with his friends, | 0:36:33 | 0:36:36 | |
strumming away on this, and people joining in, that kind of thing. | 0:36:36 | 0:36:40 | |
So it really is a remarkable item. | 0:36:40 | 0:36:43 | |
-Wow. Can I? -Would you like to have a hold? | 0:36:43 | 0:36:46 | |
So he didn't just play on his own, | 0:36:46 | 0:36:47 | |
-he put on concerts for people as well? -That's right. | 0:36:47 | 0:36:50 | |
So there would have been other people with different talents, | 0:36:50 | 0:36:53 | |
and they would put on a show, all together. | 0:36:53 | 0:36:55 | |
JAUNTY UKULELE TUNE PLAYS | 0:36:55 | 0:36:58 | |
So this is a programme, it's a variety performance we have here. | 0:37:04 | 0:37:08 | |
So we have people like magicians, they had actors, | 0:37:08 | 0:37:11 | |
they had stand-up comics, singers, you name it. | 0:37:11 | 0:37:15 | |
Bill "the Hot Dog" Williams. | 0:37:15 | 0:37:17 | |
Exactly. | 0:37:17 | 0:37:18 | |
When you read the name, you don't picture a starving prisoner of war, | 0:37:18 | 0:37:22 | |
and I suppose that's kind of the point. | 0:37:22 | 0:37:24 | |
For an hour, he wasn't a prisoner, | 0:37:24 | 0:37:27 | |
he was Bill "Hot Dog" Williams. | 0:37:27 | 0:37:29 | |
Another soldier who found himself | 0:37:32 | 0:37:34 | |
in the camps on the Burma Railway was Fergus Anckorn. | 0:37:34 | 0:37:37 | |
Fergus had been a magician before the war, | 0:37:38 | 0:37:41 | |
but had been badly wounded in the fighting. | 0:37:41 | 0:37:44 | |
The surgeon said they were going to take my hand off. | 0:37:44 | 0:37:47 | |
And then the orderly looked at me and said, | 0:37:49 | 0:37:51 | |
"Aren't you the magician we saw in Liverpool?" | 0:37:51 | 0:37:56 | |
And I said yes. | 0:37:56 | 0:37:58 | |
And he said, "You can't cut his hand off, sir. He's a conjuror." | 0:37:58 | 0:38:02 | |
We used to get bashed about all over the place. | 0:38:07 | 0:38:10 | |
We were like animals. | 0:38:10 | 0:38:11 | |
-We just took it. -It must be almost impossible to keep morale up. | 0:38:11 | 0:38:16 | |
When did you start using magic to sort of... | 0:38:16 | 0:38:18 | |
I was using magic as soon as I could. | 0:38:18 | 0:38:21 | |
We used to have a concert every Friday night. | 0:38:21 | 0:38:24 | |
We would put on a show. | 0:38:24 | 0:38:27 | |
Well, I never thought of the fact | 0:38:27 | 0:38:30 | |
that we were doing the greatest thing for morale, | 0:38:30 | 0:38:34 | |
because the fellows working, | 0:38:34 | 0:38:36 | |
they were waiting for Friday night when we'd be doing our bits. | 0:38:36 | 0:38:40 | |
The Japanese camp commandant saw me, | 0:38:42 | 0:38:46 | |
and happened to be a magic buff. | 0:38:46 | 0:38:49 | |
So I was sent to his hut to do some magic. | 0:38:49 | 0:38:55 | |
So he gave me a coin, | 0:38:55 | 0:38:57 | |
and I noticed on his table there was a tin of sardines. | 0:38:57 | 0:39:02 | |
I thought, "Right, I'm having those." | 0:39:02 | 0:39:05 | |
And so I vanished the coin, | 0:39:05 | 0:39:09 | |
reached across, | 0:39:09 | 0:39:11 | |
opened the tin, and there was the coin, | 0:39:11 | 0:39:14 | |
as you would. | 0:39:14 | 0:39:16 | |
Now, he then pushed the tin to me. | 0:39:16 | 0:39:19 | |
They would touch nothing that we touched. | 0:39:19 | 0:39:22 | |
We were verminous and horrible. | 0:39:22 | 0:39:25 | |
So I got the fish! | 0:39:25 | 0:39:27 | |
Fergus never stopped doing magic, | 0:39:29 | 0:39:31 | |
and is now the longest-standing member of the Magic Circle. | 0:39:31 | 0:39:36 | |
So I must ask, can I see a trick, please? | 0:39:36 | 0:39:39 | |
Well, yes, I wouldn't let you go out without it! | 0:39:39 | 0:39:42 | |
-I've got one with six cards here. -OK. | 0:39:42 | 0:39:44 | |
Three of them are red and three of them are black. | 0:39:44 | 0:39:48 | |
Now, if you open both hands... | 0:39:48 | 0:39:50 | |
Last year, Fergus's remarkable story helped fellow magician and soldier | 0:39:50 | 0:39:55 | |
Richard Jones win Britain's Got Talent. | 0:39:55 | 0:39:58 | |
I'm very proud, | 0:39:58 | 0:40:01 | |
and honoured to present to you, tonight, the man himself, | 0:40:01 | 0:40:06 | |
at 97 years of age, Mr Fergus Anckorn! | 0:40:06 | 0:40:11 | |
CHEERING AND APPLAUSE | 0:40:11 | 0:40:13 | |
Seeing the ukulele and meeting Fergus reminds you | 0:40:27 | 0:40:31 | |
of a thing which I've experienced, and it's that, | 0:40:31 | 0:40:33 | |
when you're a soldier, it does define who you are in many ways, | 0:40:33 | 0:40:37 | |
but you're just a human being at the end of the day, | 0:40:37 | 0:40:41 | |
And these things remind us that, particularly in those conflicts, | 0:40:41 | 0:40:44 | |
we asked ordinary people to do extraordinary things on our behalf. | 0:40:44 | 0:40:49 | |
And I think it's a testament to that, more than anything else. | 0:40:49 | 0:40:53 | |
Back down in London, | 0:41:04 | 0:41:05 | |
another of the Imperial War Museum's sites also happens to be | 0:41:05 | 0:41:09 | |
the largest object in its collection. | 0:41:09 | 0:41:12 | |
Bear Grylls is coming aboard HMS Belfast to find out more | 0:41:12 | 0:41:16 | |
about her dramatic role in the Second World War. | 0:41:16 | 0:41:19 | |
I served as an honorary lieutenant commander with the Royal Navy, | 0:41:19 | 0:41:24 | |
and actually to be on board HMS Belfast and learn | 0:41:24 | 0:41:27 | |
and get into the heritage and history | 0:41:27 | 0:41:29 | |
of this incredible ship is a real privilege. | 0:41:29 | 0:41:32 | |
I think what I'm most excited about is actually meeting somebody who | 0:41:41 | 0:41:45 | |
served on board HMS Belfast at the height of her service. | 0:41:45 | 0:41:49 | |
An incredible gentleman called Ted. | 0:41:49 | 0:41:52 | |
I can't wait. | 0:41:52 | 0:41:54 | |
HMS Belfast was launched in 1938. | 0:41:59 | 0:42:02 | |
During World War II, she spent two years protecting the Arctic convoys | 0:42:02 | 0:42:07 | |
which delivered essential supplies to Britain's Russian allies. | 0:42:07 | 0:42:13 | |
Ted Cordery was one of the brave crew who served on Belfast | 0:42:13 | 0:42:17 | |
as she patrolled the perilous northern waters. | 0:42:17 | 0:42:20 | |
So, Ted, it must have been brutally cold up in the Arctic? | 0:42:21 | 0:42:26 | |
It was. This was one of the problems, | 0:42:26 | 0:42:29 | |
because the ice formed quickly, | 0:42:29 | 0:42:31 | |
and you can have 200 ton of ice on board a ship that size, | 0:42:31 | 0:42:35 | |
and if it's left there, | 0:42:35 | 0:42:37 | |
-it will topple her. -So, actually, it can turn a ship over? | 0:42:37 | 0:42:40 | |
It could do, if it was left. | 0:42:40 | 0:42:41 | |
-So do you have to break the ice? -Yes. | 0:42:41 | 0:42:43 | |
I was always chipping ice. | 0:42:43 | 0:42:45 | |
Always chipping ice. | 0:42:45 | 0:42:47 | |
-What rank were you? -I was leading torpedo operator. | 0:42:47 | 0:42:50 | |
-OK. -That was my official rank. I could take a torpedo apart, | 0:42:50 | 0:42:54 | |
put it back together, because I spent so much time living with it, | 0:42:54 | 0:42:57 | |
-you know? -I've been up in a little boat up in those Arctic seas, | 0:42:57 | 0:43:00 | |
and it is wild up there. | 0:43:00 | 0:43:03 | |
-It is. -This must have been crazy, when there's a big swell... | 0:43:03 | 0:43:06 | |
-Oh, yes. -..and a storm going on. Were you seasick? | 0:43:06 | 0:43:08 | |
I got headaches, but I was never seasick. | 0:43:08 | 0:43:11 | |
I used to walk over some of our POs, who were lying on the floor, sick. | 0:43:11 | 0:43:15 | |
Couldn't get up because of the sea. | 0:43:15 | 0:43:18 | |
And I'd say, "Oh, you're not so bright now, are you?" | 0:43:18 | 0:43:21 | |
Not so bright now! | 0:43:21 | 0:43:23 | |
Seasickness doesn't care which rank you are. | 0:43:23 | 0:43:26 | |
It doesn't. Indeed. | 0:43:26 | 0:43:28 | |
At 94 years old, Ted is still able to negotiate | 0:43:30 | 0:43:33 | |
Belfast's precarious stairways. | 0:43:33 | 0:43:36 | |
He's taking Bear up to the ship's bridge | 0:43:39 | 0:43:41 | |
to look at a very special document | 0:43:41 | 0:43:44 | |
from her most famous mission, D-Day. | 0:43:44 | 0:43:46 | |
In the early hours of 6th June 1944, | 0:43:50 | 0:43:54 | |
Belfast moved into position | 0:43:54 | 0:43:55 | |
at the head of the British and Canadian fleet. | 0:43:55 | 0:43:58 | |
The ship's log from that momentous day | 0:44:02 | 0:44:04 | |
is now kept in the National Archives, | 0:44:04 | 0:44:07 | |
but today it's come back home. | 0:44:07 | 0:44:09 | |
So this is pretty special. | 0:44:09 | 0:44:12 | |
-It is indeed. -This never leaves the National Archives, | 0:44:12 | 0:44:14 | |
so we've got to be super careful with this. | 0:44:14 | 0:44:16 | |
But we're going to open it on D-Day, so here we go. | 0:44:16 | 0:44:19 | |
"Sixth day of June, 1944." | 0:44:19 | 0:44:22 | |
If we come down... | 0:44:22 | 0:44:24 | |
"05.27. | 0:44:24 | 0:44:26 | |
"Opened fire with full broadside to port." | 0:44:26 | 0:44:29 | |
-You remember that moment? -Yes. Yes, I do. | 0:44:29 | 0:44:32 | |
As Belfast's vast guns bombarded the coastline of occupied France, | 0:44:36 | 0:44:40 | |
thousands of other smaller ships | 0:44:40 | 0:44:43 | |
were alongside her carrying the ground troops. | 0:44:43 | 0:44:46 | |
They were so small, being buffeted, loaded with equipment, | 0:44:46 | 0:44:51 | |
possibly being seasick, | 0:44:51 | 0:44:52 | |
and I thought to myself, "My God! God bless you all," you know? | 0:44:52 | 0:44:56 | |
Because I was in a relatively good position, | 0:44:56 | 0:44:59 | |
with regards to them, | 0:44:59 | 0:45:01 | |
and I felt... I just felt sorry for them, that's all, | 0:45:01 | 0:45:05 | |
knowing full well that lots of them wouldn't come back anyway, | 0:45:05 | 0:45:10 | |
-and they didn't. -Hmm. | 0:45:10 | 0:45:12 | |
It was the largest seaborne invasion in history, | 0:45:16 | 0:45:19 | |
and as the fighting intensified on the French beaches, | 0:45:19 | 0:45:23 | |
Belfast began to take on the wounded. | 0:45:23 | 0:45:26 | |
And then you remember afterwards | 0:45:26 | 0:45:28 | |
the casualties being brought on to the sick bay of the ship? | 0:45:28 | 0:45:31 | |
Oh, God! I'll tell you something, | 0:45:31 | 0:45:34 | |
they will keep with me the rest of my days. | 0:45:34 | 0:45:36 | |
A man would be injured, and then they'd come out to the ship, | 0:45:36 | 0:45:40 | |
and I would pick them up from there and load them onto the ship. | 0:45:40 | 0:45:46 | |
And the damages I saw made me cry. | 0:45:46 | 0:45:50 | |
Faces blown away. | 0:45:50 | 0:45:52 | |
Arms off, legs off. | 0:45:52 | 0:45:54 | |
-I can see it now. Terrible, terrible injuries. -Hmm. | 0:45:54 | 0:45:58 | |
They really were. | 0:45:58 | 0:45:59 | |
Terrible. | 0:45:59 | 0:46:01 | |
But there you are. | 0:46:01 | 0:46:03 | |
What was it all for? | 0:46:03 | 0:46:04 | |
-What was it all for? -Hmm. | 0:46:04 | 0:46:07 | |
There you are. | 0:46:09 | 0:46:10 | |
When you seen death close up like that, | 0:46:17 | 0:46:20 | |
and some of the horrors of the reality of war, you know, | 0:46:20 | 0:46:23 | |
of helping these injured, dying soldiers and sailors | 0:46:23 | 0:46:27 | |
back onto Belfast, | 0:46:27 | 0:46:29 | |
you know, these are real lives with real families, | 0:46:29 | 0:46:32 | |
and real sacrifice. | 0:46:32 | 0:46:34 | |
And sometimes, it's not until you bring people back | 0:46:34 | 0:46:36 | |
to this sort of place, where Ted saw it, | 0:46:36 | 0:46:40 | |
that you remember what so many people gave for us. | 0:46:40 | 0:46:45 | |
By the time I went to the Falklands in 1982, photographers and TV crews | 0:47:00 | 0:47:05 | |
were part of the war landscape. | 0:47:05 | 0:47:08 | |
Even the aftermath of the bombing of my ship, the Sir Galahad, | 0:47:08 | 0:47:11 | |
was captured in detail by the cameras. | 0:47:11 | 0:47:14 | |
But today, I'm here to find out | 0:47:16 | 0:47:18 | |
about a very different way of recording conflicts, | 0:47:18 | 0:47:22 | |
one that sits at the heart of the Imperial War Museum's collection. | 0:47:22 | 0:47:26 | |
I've come to the museum to look at war art. | 0:47:26 | 0:47:30 | |
I know very little about it. | 0:47:30 | 0:47:32 | |
I've seen plenty of it, because of my history. | 0:47:32 | 0:47:35 | |
But I don't truly understand symbolism | 0:47:35 | 0:47:37 | |
and what some of the artists are trying to say. | 0:47:37 | 0:47:41 | |
There are some that glorify war and, from my experience, | 0:47:41 | 0:47:44 | |
there's nothing glorious in it. | 0:47:44 | 0:47:46 | |
But there is so much symbolism in it, | 0:47:46 | 0:47:48 | |
and there's an awful lot to understand, | 0:47:48 | 0:47:50 | |
and I'd love to find out more about that. | 0:47:50 | 0:47:53 | |
'Tim Marlow is artistic director of the Royal Academy of Arts, | 0:47:56 | 0:48:00 | |
'and a trustee of the Imperial War Museum. | 0:48:00 | 0:48:03 | |
'He's taking me behind the scenes to the museum's art store | 0:48:03 | 0:48:07 | |
'to look at works by some of our greatest official war artists. | 0:48:07 | 0:48:11 | |
'Firstly, he shows me these intimate drawings by John Singer Sargent | 0:48:11 | 0:48:17 | |
'that formed the basis for one of the most famous paintings | 0:48:17 | 0:48:20 | |
'of the First World War.' | 0:48:20 | 0:48:22 | |
These are the studies | 0:48:26 | 0:48:27 | |
he made of the figures, so there's the arm | 0:48:27 | 0:48:30 | |
holding on to the shoulder. | 0:48:30 | 0:48:32 | |
This is one of the figures, not a dead figure or a dying figure, | 0:48:32 | 0:48:36 | |
but they're blinded, so they're lying down, waiting to be treated. | 0:48:36 | 0:48:40 | |
Look at this. | 0:48:40 | 0:48:41 | |
This sequence there. | 0:48:41 | 0:48:43 | |
I love this touching relationship, | 0:48:43 | 0:48:46 | |
each man helping another, holding on to another. | 0:48:46 | 0:48:49 | |
I don't know how strong or powerful that is to you, but it is to me. | 0:48:49 | 0:48:53 | |
No, it's huge. I mean, there was a point in time, after being injured, | 0:48:53 | 0:48:56 | |
that I was blind, | 0:48:56 | 0:48:58 | |
and I had to be led to my hospital bed because the stretcher I was on | 0:48:58 | 0:49:03 | |
couldn't quite get through the doorways, | 0:49:03 | 0:49:05 | |
and they tipped me off onto the floor, | 0:49:05 | 0:49:08 | |
and I said, "Enough's enough," | 0:49:08 | 0:49:10 | |
or words to that effect. | 0:49:10 | 0:49:12 | |
We won't go in to the exact vernacular! | 0:49:12 | 0:49:15 | |
And then they led me to my room. | 0:49:15 | 0:49:17 | |
In this way, this is very, very powerful, and it's so sad. | 0:49:17 | 0:49:22 | |
But in its sadness, there is a great deal of compassion and emotion. | 0:49:22 | 0:49:27 | |
The human spirit. | 0:49:27 | 0:49:28 | |
This is a beautiful work by Stanley Spencer, | 0:49:36 | 0:49:38 | |
also from the First World War, | 0:49:38 | 0:49:40 | |
of the travoys. | 0:49:40 | 0:49:42 | |
These are these mobile stretchers being towed by horses, | 0:49:42 | 0:49:45 | |
taking them to a field hospital, the wounded. | 0:49:45 | 0:49:47 | |
There's a kind of religious sense. When you look down on the figures... | 0:49:47 | 0:49:51 | |
There's something like a crucifixion to me, when I look at those figures, | 0:49:51 | 0:49:55 | |
and then, this figure here, who's walking away, | 0:49:55 | 0:49:57 | |
having been...if not fully healed, he's on the road to recovery. | 0:49:57 | 0:50:00 | |
Maybe there's the hope of redemption in this picture. | 0:50:00 | 0:50:02 | |
What you can't remove is the brutality, | 0:50:02 | 0:50:05 | |
because people are lying on stretchers, incapacitated, | 0:50:05 | 0:50:10 | |
but the one thing is the hand, here, on the fellow's face, over his eyes. | 0:50:10 | 0:50:14 | |
And he's covering it, | 0:50:14 | 0:50:15 | |
and it's almost like, we don't want you to look. | 0:50:15 | 0:50:18 | |
We don't want you to see. | 0:50:18 | 0:50:19 | |
Or we don't want somebody else to see what you're seeing. | 0:50:19 | 0:50:21 | |
Or what you're feeling. There's something... | 0:50:21 | 0:50:24 | |
-It's gentle and tender as well, though. -It is. | 0:50:24 | 0:50:26 | |
It's dignified, I think. | 0:50:26 | 0:50:27 | |
'But there's another set of works Tim wants me to see, | 0:50:33 | 0:50:36 | |
'that are closer to my own experience. | 0:50:36 | 0:50:39 | |
'Back up in the public galleries | 0:50:39 | 0:50:41 | |
'are a set of drawings of the Falklands Conflict by Linda Kitson. | 0:50:41 | 0:50:45 | |
'One of the images shows my own ship, the Sir Galahad, | 0:50:45 | 0:50:49 | |
'on which 48 men were killed.' | 0:50:49 | 0:50:52 | |
-This is us. -That is you. | 0:50:53 | 0:50:56 | |
-This is us. -You know that... | 0:50:56 | 0:50:58 | |
Do you know exactly when this drawing was made? | 0:50:58 | 0:51:01 | |
I have no idea. | 0:51:01 | 0:51:04 | |
This was a week after the bombing, | 0:51:04 | 0:51:06 | |
when the ship was still on fire, | 0:51:06 | 0:51:09 | |
and that boat is still burning. | 0:51:09 | 0:51:11 | |
The bomb came through the other side. | 0:51:17 | 0:51:20 | |
And this is the engine room that started the fire. | 0:51:20 | 0:51:23 | |
And then the bomb detonated inside the fire | 0:51:23 | 0:51:25 | |
that had started in the oil. | 0:51:25 | 0:51:27 | |
And that's why this side is probably the side that burned the quickest, | 0:51:27 | 0:51:31 | |
because that's where the fire started. | 0:51:31 | 0:51:33 | |
I was about here. I was the closest to the bomb to survive. | 0:51:33 | 0:51:36 | |
And then I managed to make it out along this side of the ship, | 0:51:37 | 0:51:41 | |
and it was up here, where they winched us off. | 0:51:41 | 0:51:44 | |
And that was it. | 0:51:44 | 0:51:45 | |
I didn't even look back at her. | 0:51:45 | 0:51:47 | |
-You've never seen this. -Never. | 0:51:47 | 0:51:49 | |
How...how is it? Does it feel quite remote or removed for you? | 0:51:49 | 0:51:53 | |
This bit I find quite disturbing. | 0:51:53 | 0:51:56 | |
Because it's like...this is the ribs of something living, | 0:51:56 | 0:52:00 | |
and they've peeled away the skin of it. | 0:52:00 | 0:52:02 | |
Don't be polite. Don't hold back. | 0:52:02 | 0:52:04 | |
Looking around the Imperial War Museum's collections, | 0:52:04 | 0:52:07 | |
does art ultimately fall short of the capacity, for you, | 0:52:07 | 0:52:11 | |
to invoke the horrors of conflict and war? | 0:52:11 | 0:52:15 | |
No, I... | 0:52:15 | 0:52:16 | |
I like art. | 0:52:16 | 0:52:18 | |
I believe that it captures things perfectly in many ways, | 0:52:18 | 0:52:22 | |
although it can never actually replicate what you see. | 0:52:22 | 0:52:26 | |
But there's a rolling story in every picture. | 0:52:26 | 0:52:29 | |
The conflict took ownership of my life for so long, | 0:52:34 | 0:52:37 | |
and seeing the Galahad so open and wounded, like she was, | 0:52:37 | 0:52:42 | |
as she is in the picture, all of her flesh torn away, | 0:52:42 | 0:52:46 | |
and all you see are the ribs and the bones | 0:52:46 | 0:52:49 | |
and the interior carcass of her, it was hugely emotive to me. | 0:52:49 | 0:52:55 | |
That's a bit of it I'd never seen. | 0:52:55 | 0:52:56 | |
I only saw when she was in the throes of that death. | 0:52:56 | 0:53:00 | |
And we were a part of that. | 0:53:00 | 0:53:02 | |
When you look at it, | 0:53:02 | 0:53:04 | |
I could start to get some smells coming back to me, | 0:53:04 | 0:53:08 | |
and noises, and those are things that you can't teach people about. | 0:53:08 | 0:53:12 | |
They only learn from experience. | 0:53:12 | 0:53:15 | |
Over the past century, the Imperial War Museum has been testament | 0:53:24 | 0:53:29 | |
to the courage of men and women caught up in conflict. | 0:53:29 | 0:53:32 | |
For the last of our ten objects, | 0:53:34 | 0:53:36 | |
Dame Kelly Holmes has come to the museum's Lord Ashcroft Gallery, | 0:53:36 | 0:53:40 | |
home to the world's largest collection of Victoria Crosses, | 0:53:40 | 0:53:44 | |
to meet one of her, and our, greatest war heroes. | 0:53:44 | 0:53:49 | |
Johnson Beharry is one of only six living recipients of the VC, | 0:53:49 | 0:53:53 | |
and Kelly will be taking a look | 0:53:53 | 0:53:56 | |
at a very special object from his service in Iraq. | 0:53:56 | 0:53:59 | |
I joined up a month before my 18th birthday. | 0:53:59 | 0:54:03 | |
I'd wanted to go into the British Army since I was 14. | 0:54:03 | 0:54:07 | |
I can't believe that I'm actually getting an opportunity to speak | 0:54:07 | 0:54:10 | |
to Johnson Beharry, | 0:54:10 | 0:54:11 | |
because I remember when he got awarded the Victoria Cross, | 0:54:11 | 0:54:14 | |
and having been military myself, you think, "Wow, | 0:54:14 | 0:54:16 | |
"that is the biggest honour ever. | 0:54:16 | 0:54:18 | |
"This guy must be amazing." | 0:54:18 | 0:54:19 | |
In 2004, Johnson Beharry was serving in Southern Iraq. | 0:54:21 | 0:54:25 | |
On 1st May, | 0:54:26 | 0:54:28 | |
he was driving an armoured personnel carrier | 0:54:28 | 0:54:30 | |
when it was hit by a rocket-propelled grenade. | 0:54:30 | 0:54:33 | |
He was alone in the front of the vehicle, | 0:54:35 | 0:54:38 | |
and had lost all communications with the men in the back. | 0:54:38 | 0:54:41 | |
I could see now the engine is on fire, | 0:54:41 | 0:54:44 | |
and there was loads of smoke. | 0:54:44 | 0:54:46 | |
-Oh, boy. -I couldn't see anything, so I opened the hatch, | 0:54:46 | 0:54:49 | |
in the middle of whatever was happening, | 0:54:49 | 0:54:52 | |
and then I realised I was in the middle of an ambush. | 0:54:52 | 0:54:55 | |
With the road blocked in front of him, | 0:54:56 | 0:54:59 | |
Johnson's first impulse was to try and escape from the burning vehicle. | 0:54:59 | 0:55:04 | |
There are seven soldiers in the vehicle. | 0:55:04 | 0:55:06 | |
I'm thinking, "I'm about to get out, I'm going to leave them to die." | 0:55:06 | 0:55:10 | |
And I said to myself, "No, I'm not going to do that. | 0:55:10 | 0:55:12 | |
"I'm going to stay with them." | 0:55:12 | 0:55:14 | |
Johnson managed to force his way through the roadblock and then, | 0:55:14 | 0:55:18 | |
still under attack, | 0:55:18 | 0:55:20 | |
he saved the lives of the men trapped in the back. | 0:55:20 | 0:55:23 | |
The vehicle was still on fire, | 0:55:23 | 0:55:25 | |
and the guys were in the vehicle. | 0:55:25 | 0:55:27 | |
So what I did, I went through the vehicle, the burning vehicle, | 0:55:27 | 0:55:31 | |
and got all seven guys into safety, one after the other. | 0:55:31 | 0:55:35 | |
What I would love to pick up on is your helmet. | 0:55:35 | 0:55:38 | |
It's in kind of good shape. | 0:55:38 | 0:55:40 | |
-It still is, yeah. -I see all this writing on it, I'm quite fascinated. | 0:55:40 | 0:55:44 | |
-So these are all the guys... -That I saved. -That you saved. | 0:55:44 | 0:55:46 | |
So my name is not on it, and the reason is, my name is inside, | 0:55:46 | 0:55:50 | |
it's my helmet. With my number. | 0:55:50 | 0:55:52 | |
One month later, Johnson was again at the centre of an ambush, | 0:56:06 | 0:56:10 | |
and again demonstrated remarkable bravery. | 0:56:10 | 0:56:13 | |
This time, I had a bullet in my shoulder, a bullet to my head, | 0:56:14 | 0:56:19 | |
and a grenade detonated six inches from my face | 0:56:19 | 0:56:22 | |
and blew this off. | 0:56:22 | 0:56:24 | |
I managed to reverse the vehicle out of the contact, I don't know, | 0:56:24 | 0:56:28 | |
I haven't got a clue how I done it, saving 12 lives. | 0:56:28 | 0:56:31 | |
But that one was a serious one. | 0:56:31 | 0:56:33 | |
That's where I had a serious brain injury | 0:56:33 | 0:56:35 | |
-and I stayed in a coma for five weeks... -Wow. | 0:56:35 | 0:56:38 | |
..with less than 1% chance of survival. | 0:56:38 | 0:56:41 | |
So that is the bad one. | 0:56:41 | 0:56:43 | |
The first one was pretty easy. | 0:56:43 | 0:56:45 | |
Of course it was(!) | 0:56:45 | 0:56:47 | |
In March 2005, Johnson was awarded the Victoria Cross. | 0:56:49 | 0:56:54 | |
Tell me, when you were awarded this, how did that make you feel? | 0:56:54 | 0:56:57 | |
I remember going into this room to get a briefing, | 0:56:57 | 0:57:00 | |
on how to address Her Majesty, because I never speak to her before. | 0:57:00 | 0:57:05 | |
I'd only seen her on TV. | 0:57:05 | 0:57:07 | |
And I didn't know what to say or do, because that's my boss. | 0:57:07 | 0:57:13 | |
APPLAUSE | 0:57:13 | 0:57:15 | |
Finally, the VC, what does it mean to you? | 0:57:15 | 0:57:19 | |
Most of all, I wear it with pride, | 0:57:19 | 0:57:22 | |
knowing the guys are all safe, | 0:57:22 | 0:57:25 | |
and are representing the rest of the British Army. | 0:57:25 | 0:57:29 | |
I'm going to leave it there. | 0:57:29 | 0:57:31 | |
That was amazing. | 0:57:31 | 0:57:33 | |
Johnson was the first living serviceman to win the Victoria Cross | 0:57:34 | 0:57:38 | |
in nearly 40 years. | 0:57:38 | 0:57:40 | |
He had saved the lives of 30 men. | 0:57:40 | 0:57:43 | |
I had an amazing time meeting Johnson. | 0:57:44 | 0:57:47 | |
His story is just incredible. | 0:57:47 | 0:57:49 | |
The focus and the resolve that he has | 0:57:49 | 0:57:52 | |
to save the rest of his comrades, | 0:57:52 | 0:57:54 | |
and that's all that mattered to him. | 0:57:54 | 0:57:57 | |
Having come here and seen all the Victoria Crosses, | 0:57:57 | 0:58:00 | |
it just makes you feel very proud of all those people. | 0:58:00 | 0:58:03 | |
This is a unique set of individuals who have done extraordinary things. | 0:58:03 | 0:58:08 | |
For 100 years, this museum has played a vital role | 0:58:22 | 0:58:25 | |
in preserving our national memories of conflict. | 0:58:25 | 0:58:28 | |
For me, it's this sharing and learning of these memories | 0:58:28 | 0:58:32 | |
that is so very important to ensure | 0:58:32 | 0:58:34 | |
that the impact of war on people's lives is never forgotten. | 0:58:34 | 0:58:39 |