There are two main elements to this film: footage of soldiers in the field, and footage of their reception when they arrive at Yenangyaung. The latter scenes could be used for propaganda purposes, as they aim to show the positive reception of liberating troops by Burmese townspeople. In their unedited form these shots disclose the degree to which they were orchestrated. Most telling is a grouping of about twelve locals who look directly at the cameraman, clearly awaiting their cue. Abruptly, when a jeep enters screen left they commence clapping. This is supposed to represent the first soldiers entering the town, but the fact that their arrival has been re-staged is made clear by the fact that cameraman is already amongst the townspeople. Also orchestrated are the establishing long-shots of the jeep’s arrival, filmed from the locals’ point-of-view.

The cameraman stages a reciprocal exchange of gifts. Further underlining the lack of spontaneity in the scene of the jeep’s arrival, it appears that several of the locals had been equipped in readiness with gifts of flowers. Mirroring this sequence there is footage of another line of local people who, this time, are receiving gifts. One of the local girls receives hers twice. Its presentation is captured for a second time in medium close-up, disclosing her broad smile, which she makes to camera rather than to the soldier who has given her a biscuit. The Burmese in these scenes are not wholly ‘on message’. Amongst those receiving gifts there are a number of youths who are wary of the camera and stare at it fixedly. Later encounters between the locals and the troops are also arranged for the camera. Individuals are carefully framed, and the cameraman gets a clear view of the action. However, there does appear to be more spontaneous interaction and enjoyment between the military and the local people in these scenes, as they joke with bank notes (possibly devalued Japanese currency), vegetable bulbs, and a large cigar/cheroot.

The footage of the battle for Yenangyaung also has its orchestrated components. Occasionally the cameraman films from exposed positions, which if the action were genuine would have put him in danger. For most of the time, however, the action is not staged. This footage presents a positive image of a self-contained Indian army unit advancing in battle, and provides a detailed record of their actions. However, even here the cameraman’s narrative impulse is in evidence. Although no Japanese are seen in this sequence, their proximity is cleverly indicated. In one sequence the Indian soldiers smell recently cooked food, which they discover in a house that the opposing troops have vacated.

One of the most notable features of this footage is the lack of distinguishing landmarks, notably any images of the oil wells. The footage of the troops’ advance could be used for training purposes (in particular the detailed images of the mortar battery going into action), while the footage of their arrival in Yenangyaung could be used generally as an illustration of the positive reception of Allied troops by Burmese people.

Richard Osborne (February 2010)