|Invite to the original premiere|
Len has indicated to me that in response to some 'extravagant fictions' that have grown up around the film since its release, he would like to set the record straight and explain the reasons why he chose to make the film and tell the story of the men and the war.
(c) Pluriform 2014
Producing 'Oh What A Lovely War' - how it happened
by Len Deighton
"The radio play
When Charles Chilton created 'The Long Long Trail,’ his musical play for BBC radio, he used only the words that were spoken or written by the participants of World War One. The programme was entertaining but it was an important record too. In a typically British light-hearted way, it brought the facts, figures and first-hand opinions of the war to a wide audience.
The stage production
On 19 March 1963, Joan Littlewood and her Theatre Workshop opened their production. Joan had transformed the radio programme into a musical entertainment for the stage. Her Theatre Royal was a lovely old music hall and Joan's instinct told her to adapt a line from one of the songs - 'Oh, its a lovely war' - to make her more exclamatory title ‘Oh What A Lovely War'. Joan's production adopted the variety theatre format, and even used the illuminated numbers at each side of the stage to distinguish each act. The Theatre Royal was small and the audience was mostly local people, but the heavy irony of Joan's new title attracted wide attention. Theatre critics, always curious about Joan's startling and unpredictable talent, came to Stratford in London to see what it was all about. Kenneth Tynan, the theatre critic of The Observer, gave the show a rave review. I read his verdict a day or two later, in Portugal. The production was obviously an important historical record and I made plans to go to London and see it. I went to London, saw the show and bought the LP recording of the songs and music.
After seeing Joan's Theatre Workshop production at Stratford East the show remained in my mind, and I had played the songs over and over again. I bought a published copy of the stage play to see if I could make it into a screenplay. Harry Saltzman warned me that other admirers of the show had bought movie options previously, but failed to get deals; but I persevered. My determination was driven more by the wish to make a permanent record of the show than by a wish to become a film producer...."
Read the rest of this story on the newly upgraded Deighton Dossier website.