‘Empire of the Sikh’s is a full circle journey, bathed in tones of gouache and gold, that opens a window to the past and brings us to the present’.
The Empire of the Sikhs exhibition at the SOAS, a major exhibition presented by the UK Punjab Heritage Association, will close in a few weeks but I highly recommend you visit before it does, it’s free, spectacular and well worth the time. The installation is found in the exhibition rooms of the Brunei Gallery, a straight walk from the gates of the University of London. There is something there for student, art lover, culture junkie and newcomer alike.
I spent just under two hours at the exhibition, at first moving quite slowly, and if you linger as I did at each exhibit, paying close attention and examining them closely, you would probably need three. So if you want to linger at each display, recall there are over 100 artefacts with their descriptions and several large information panels, and the nature of the objects fairly beg you to take your time with them.
The exhibition is expansive in scope but intimate in expanse, I imagine that it could become quite crowded at busy times, should you happen to arrive at such a moment I’d advise being patient. If you can manage it, browse the books, pick a bench outside for a little while, or drop back down Store Street and sit in one of its chic cafes for half an hour.
Instructions are well posted on the door as you come in. If you have a family, don’t worry. People were bringing their children in, and a small play area where the kids can colour-in is situated to the right of the entrance door. Additionally the Brunei Gallery has a small but well stocked bookshop in the building and inside the exhibition there is a wonderful selection of illustrated books, many published by the excellent people at Kashi House, being sold in the exhibition, as well as post cards and prints, all very reasonably priced and of good quality.
The Empire of the Sikhs is undoubtedly one of the brightest lights of London’s summer exhibition season, and not to be missed.
Opening Date: 12 July 2018: Time: 10:30 AM
Finishes: 23 September 2018: Time: 5:00 PM.
(Late Opening on Thursdays. Closed Mondays and Bank Holidays.)
Once more good people, books flooded my reading list last year in such quantities that at times I found myself swimming in them. In total I think I read one, maybe two books that was not related to research or that I had not been asked to review. My undying thanks goes out to all the wonderful author’s and publicists who have given me the opportunity to indulge in what I love to do. So now I present my five favourite history books from 2017, there’s no particular order here but here they are in the order they were posted.
The Late Lord. Jacqueline Reiter.
‘The Late Lord is a confident, elegantly written biography, rooted in iron clad fact, rarely ever straying from what cannot be substantiated. I think it also brings to the fore the wider strategy Britain adopted to defeat France. Brilliantly highlighting, at the same time, the life of a man who represents a substrata of British statesmen and aristocrats during the Revolutionary and Napoleonic Wars. This book does much to retake lost ground, questioning what has been taken for granted, and bringing a much needed spotlight of unbiased scholarship to a fascinating and tragic life.’ https://adventuresinhistoryland.com/2017/04/10/book-review-the-late-lord-by-jacqueline-reiter/
Koh I Noor. William Dalrymple and Anita Anand.
‘A book that shines in its ability to string together thousands of years of history, involving politics, war, personalities and rivalries into a fluid tale. In many ways parting the mists of myth that surround the diamond. A highly readable, exciting and poignant work, that cleverly tells the history of the diamond and at the same time using it as a vehicle to tell the history of India’. https://adventuresinhistoryland.com/2017/07/27/book-review-koh-i-noor-by-anita-anand-and-william-dalrymple/
Tartan Turban. John Keay.
‘This … is a story that is worthy of motion picture treatment. Few lives could have been so heroically flawed and so madly eccentric or so deserving of notice, but at the same time it was a life played in a sort of gaudy, inglorious, undertone, because Gardiner never stepped fully into the limelight in his own lifetime. Happily we now have John Keay’s book to bring this fascinating character back into focus’. https://adventuresinhistoryland.com/2017/10/11/book-review-the-tartan-turban-by-john-keay/
This is the find of the week for me, something I’ve not seen before that I suddenly noticed adorning a book jacket. A view of Florence c1490, painted I hope by the anonymous gentlemen pictured in it. It’s amazing what art can do. Today I was feeling pretty humdrum, nothing much to stir the juices, then two or three hours ago I caught a glimpse of this and suddenly everything went into warp drive. This little post is the result.
On any given night during the summer of 1969, if we are to believe Roger Ebert,  the stars of Sergei Bondarchuk’s Waterloo gathered in Rod Steiger’s suite to drink Johnnie Walker Red and tell dirty stories. The suite was the only one in the run down Bolshevik grey hotel in Uzhgorod Ukraine, that served as the cast accommodation. It consisted of two tiny rooms; “One to sleep in and one to breath in” said Christopher Plummer.  Steiger, Irish actor, Dan O’Herlihy (playing Marshal Ney) and Plummer often got together in the evenings before “Napoleon” departed to drink, joke and moan about the location. 
A morose Steiger, brooding over his recent divorce didn’t need much excuse to have a glass in his hand. Ebert remembered Steiger braced over a table one night in the hotel dining room, periodically drinking back measures of local wine to steady his nerves. His horse had been spooked by an areal explosion and bolted. Horses being spooked by explosions were a problem, and not just for the Russian cavalry. In a scene that didn’t make it past the editing room floor, Plummer and Terrence Alexander (playing Uxbridge) went on an unscheduled ride after the pyrotechnics went off at the wrong time .
“My family was destroyed by alcoholism,” Steiger cried dramatically. “I can’t let up!” Plummer and O’Herlihy laughed. “Joking, of course,” he said “Trying to bring my small measure of poetry into the world.”‘ 
The hallways of the hotel smelled of sweat and the dining room mixed this with the even more unpleasant tang of urine. When Christopher Plummer had arrived, after a horrendous train journey in a ramshackle carriage with no facilities save a hole in the floor, the most comforting meal that could be scrounged was a plate of chicken and a sad salad of poor tomatoes and cucumber. . He’d already been greeted by a welcome gift of caviar and a cordial welcome sent round by the director, which the messenger then asked him to pay for. To add insult to injury there was never anything to eat in the hotel except Borscht, which did nothing to improve Steiger’s mood. ‘”Borscht again!” Steiger said, stirring the thick rust coloured soup so the potatoes surfaced occasionally, like pale islands through the sour cream. “It’s the g******n stuff of life on this location. Borscht for lunch. Borscht for dinner. I’m afraid to come down for breakfast.”  He gazed morosely into the brownish red gloop and mused about his role and wether Napoleon would’ve cared a curse if Borscht had been on the menu every day. He pushed the bowl away from him and emptied his glass. Plummer tried to improve his mood with some artless but well meant flattery;
“It is the role, my dear sir, you were born for.”
“Don’t you read E.E. Cummings?” Replied Steiger “A World of made is not a world of born.”
“Then it is the role you were made for sir.”
Steiger didn’t argue further, “You can say that again.” 
Ukraine in 1969 was beautiful, scorching hot, and dirt poor. The actors were not allowed to fraternise with the locals who came to stare, nor to stray far from their lodgings. The hospital was a death trap, as were most of the rooms in the hotel. It was a rich agricultural area, but hungry because the bulk of their hard earned produce was the property of the state and by law sent to Moscow. The area was full of Soviet citizens that were either indifferent to, or hated Russia. In part the only reason Plummer’s wife was able to get to Uzhgorod was because the driver he had hired to transport them was a Hungarian with a Magyar’s disdain for the Russians, and stubbornly got them through checkpoint after checkpoint. Georgians, Transylvanians, Yugoslavians were also common nationalities to bump into and the area was volatile. Part of the reason the film was even possible was because of the buildup of Russian troops on the Czech border after the Warsaw Pact invasion in August 1968.
Sergei Bondarchuk didn’t understand Englishmen. Indeed his knowledge of English itself was scant at best. The first time he met Christopher Plummer, the Canadian actor was in makeup for his role as the Duke of Wellington. They were in Rome at the time and master makeup artist Alberto di Rossi was just informing Plummer his nose was more than big enough for the task of emulating “Old Nosey’s” famous beak, when the intimidating form of Bondarchuk strode in tailed by a stern group of what Plummer took to be KGB agents. He was a very Russian looking Russian. A large compact bear with frowning eyes and a pugnacious chin, after observing di Rossi’s work he voiced concern about the upper lip not being right. The Italian makeup artist had a sharp wit and asked if it wasn’t “stiff enough.” To his and Plummer’s surprise he responded in the affirmative and had to be informed that “Stiff upper lip” was an expression, not an ailment. After he had been made to understand, the taciturn Bondsrchuk turned on his heel and left without another word .
Rod Steiger said humorously that the director knew three phrases in English, “How are you?”, “I come back soon” and “Bonjour.”  For the scene where Wellington and Uxbridge mildly discuss his lost leg, he had something much more dramatic and emotional in mind, which would have seen a tearful Duke escorting his fallen comrade from the field. His feeling was that the reality was almost monstrous as Wellington seemed to be making fun of Uxbridge. He was talked around to sense, but Plummer distinctly thought the process had made “Bondars” wash his hands of the entire cold blooded, stiff lipped Anglo Saxon race. 
The long dark looks, the short sentences and the morose expressions from the Soviet director could well be explained by the sheer size of the undertaking at hand. Italian Producer Dino di Laurentiis had been trying to get Waterloo off the ground for 10 years. His production company wasn’t big enough to handle the monster alone, and no one else wanted the risk either. Russia was the only place such a logistically challenging movie could be made and Mosfilm stepped up to the plate . A giant budget made the Waterloo project one of the biggest movies in production, and a bigger responsibility, but Binderchuck was used to immense budgets. War and Peace had cost $100 Million. Even so, had it not been made in Russia, with the Red Army it would have cost three times that much. At the time it was said that Sergei Bondercuck commanded one of the biggest armies in the world. 15-16,000 Soviet troops had been mobilised to act as the various armies of 1815, including a full brigade of the Moscow Militia Cavalry, making the recreation three quarters the size of the real thing. Each man was played the princely sum of $1 a day for his trouble, a salary that seemed dazzling to them. In order to control his army Bonderchuk counted on a staff corps of Russian Generals, 3 of whom were military historians, who consulted on formations and tactics, General Kozakov, General Lushinsky, and General Oslikovsky, a former major, Anatoli Chemedurov was his assistant director.  What with these men, and his small troop of 4 interpreters the soft spoken, plainly dressed man, often mistaken for a Georgian farmer by curious visitors,  certainly seemed like a General himself.
It was obvious that despite the rubbish accommodation Mosfilm was ambitious in its outlook. For months the set director had been carefully manicuring a hitherto ordinary parcel of Ukrainian farmland near the Czech border into a facsimile of Mont St Jean Ridge, Belgium. He bulldozed two hills, deepened a valley, laid five miles of road and six miles of pipe to create mud. He sowed fields of rye and barley and recreated four historic buildings, it must stand as one of the most impressive set builds in history for sheer landscaping alone. To film the massive battle scenes, 100 foot towers had been constructed, a helicopter readied and an overhead railway built . The schedule was relentless but as usual at the mercy of delays, weather being one, and the importation of a giant telephoto lens from Italy, which kept the entire “army” hanging around doing nothing for a week while, rumour had it the Russians were making notes for a copy , which did nothing to ease tensions of army officers worried about overheads, or actors, stewing in their dump in Uzhgorod. Plummer and the rest of the cast, spent their time either drinking smuggled booze or socialising at dinner parties given by his wife, who had braved the Spartan living conditions to join him on set.
Roger Ebert had mused about the Soviets in drag; “If the Czechs did decide to rise up one day, would the Russians take time to change? Or hurry across the border in costume, Napoleon’s Old Guard against the students?” . On one morning the cast had driven out to the set, a couple of miles in a suspensionless van over bad roads, but driven (in Plummer’s case) by a excellent man they called Fred, to find it empty. Apparently there had been some emergency and the troops had been scrambled, uniforms and all to go to fight the enemy. 
The Russian infantry and cavalry were quartered in a massive encampment near the field. They had been taught close order drill, and 2,000 had been taught how to load and fire muskets and they were having quite a good time. Soon after breakfast they marched to the film set and were outfitted, fifteen minutes afterwards they were expected to be in position. The Russian technicians were happy too, and gorged themselves on the pasta and vino Bondarchuk flew in from Italy every other day for lunch . The Moscow Militia Cavalry, who Plummer identified as Cossacks and Tartars, undertook gruelling rehearsals for the massed charges, that were filmed from the tracks, aircraft and towers with the high powered Panavision lenses. 
These charges were awe inspiring to watch, but painful as well and not just because everyone was getting the feeling that their parts were becoming lost against the vast sea of extras. The Western, Yugoslavian and Russian stunt men could make their horses fall on command, but the cavalry mounts had no special training. Trip wires were used instead with fatal results. Watching one charge Plummer and the rest of the cast were horrified to see a horse rise from the ground with its neck bent at a ghastly angle. It pleading pitifully for help. Its rider heard the plaintive cries of distress, and unable to be restrained he sprinted to its side, ignoring all calls to get out of the shot. The animal was in dire pain, and whinnied piteously to its owner, who in no less internal anguish cast around desperately for a gun to end its ordeal. With none to hand, he took out a knife and with shockingly accurate precision cut the animal’s throat. When the cameras stopped rolling an eerie silence fell over the scene, penetrated only by the cries of the heartbroken soldier weeping over the body his dead friend. . Horses were to drop like flies during the 48 days of battle shooting, to the degree that when the prop department began to run out of fake carcasses and began to use the real thing. .
Whenever filmmakers and historians get together to create something, battles are fought over battles. During that summer in Ukraine, one of the men waiting in attendance on Bondarchuk was his British advisor. A colonel, who not only sported a monocle and moustache but habitually wore a kilt. His name was also unforgivably British; Willoughby Grey, whose great grandfather had actually charged with the 2nd Heavy Dragoons, Scots Greys at Waterloo. He is credited as playing Captain Ramsey of the RHA In the movie, and thus has one line and a brief appearance in the film. A generally affable fellow, who chummed around allot with the actors and was usually in on most of the big production calls. He was supposedly an expert on Wellington and the British army he commanded . It is due to Willoughby, (nicknamed “Willow” by the cast) and Plummer that all those witty lines got given to Wellington, and that he was allowed to show some of his repressed emotion.
Plummer, unhappy about the dry treatment the Duke was getting in the film, cornered Willow and said “You know practically every recorded statement the Duke ever made. Let’s put them in the script, even if they are out of context. The writers have all gone; let’s give him back some of his wit and style.” Of course Willow agreed, most of the lines in the film were indeed said at one time or another, although in different ways. Bondarchuk accepted these alterations with good grace, as he’d never liked the script much anyway, and tolerated everything from unauthorised script changes to Steiger’s on the spur ad-libs.
Wellington’s bearing was also helped by the fact that Plummer was given a wonderful old former police horse from Moscow called Stok, and was completely deaf after having going through so many gun battles. Willow spent days organising the scene were the French cavalry charge the squares, assisted by second unit and assistant director Major Chemedurov. On the day appointed 5 large squares of “British” infantry had been formed on one of the hills, but for some reason Bondarchuk refused to shoot it, snapping through an interpreter “It may be authentic, but it’s not cinema.”
Willow calmly argued that it would indeed be cinematic if he put his areal cameras to good use, but that just made the Russian dig his heels in. Plummer thought he was feeling threatened by someone who had done their homework. “But this is correct” the Colonel insisted “This is how it happened. I can’t change it. I won’t change it.” Silence from the Russian corner.
“There is really no point in my being here at all if you won’t listen to anything I say!” And he stormed off. Behind him trailed the Russian Generals who had all taken his side, together the soldier historians marched stiffly along the ranks of waiting cavalry, a picture of injured military dignity. The Generals were impressed by his stand, and invited Willow to their tent where they all promptly got pickled toasting him in vodka and discussing the battle, with Chemedurov serving as the interpreter. In the end Willow won his Waterloo and the areal shot of the squares remains the most admired part of the film. .
One by one the actors fulfilled their duties and got out of dodge. Plummer, Terrence Alexander, Willow and Jeffrey Wickham, appealing to Bondarchuk to let Michael Wilding finish his scenes first due to an encroaching illness. Jack Hawkins having soldiered through his scenes while recovering from an 1968 operation to restore his voice, (he’d had his Larynx removed due to cancer in 1966 and died in 1973), and packed up, much to the relief of the cast who worried about his exposure to all the smoke.
Living conditions had brightened up in Uzhgorod that September with the arrival of the Georgians. Sergo Zaquariadze, playing Blucher was a big star in the Soviet Union, he had the red carpet treatment and for the time they were there the hotel almost became liveable. He brought good company and copious amounts of red wine. Apparently he had more scenes than what most audiences remember, stills show the famous meeting at La Belle Alliance & Plummer remembered watching a dramatic scene where he is presented with Napoleons captured hat but, they didn’t make it. Or if they did the phantom director’s cut has never surfaced and is perhaps merely legend. When the Georgians left, things returned to drudgery and the remaining cast wondered when it would all be over. When it was finally his time to go, Plummer was glad to get away, but reflected later he’d not have missed the adventure of filming the battle of “Batty-Poo” for the world.
See you again for another adventure in Historyland. Josh.
After a delay which I could put down to factors beyond my control, but instead will attribute to seeing something shiny, this video has been unnecessarily delayed but hurrah! At last I have posted by latest 1066 Q&A vid, I’d love for you to like, comment and favourite, I’d love it even more if you subscribed to my channel but no pressure, I’m easy going like that, wether 10 or 10,000 people watch it. (But please, please, please do).
The Combat series is fast becoming one of Osprey’s strongest assets as it bridges the gap between warrior, men at arms, elite and campaign, being a fair blend of them all. It fits in neatly with the spirit of the other lines the publisher has produced over the years. Bringing an in depth look at a specific point, and in addition “Versus” as it is also called, allows enthusiasts to actually investigate the age old “who would win” conversation.
This book examines the experiences of British and French regular soldiers during the French and Indian War 1755-1763. Essentially this is the story less told in the Last of the Mohicans, that of the red and white coats who formed the nucleus around which the more famous Rangers, Couriers du Bois, Indians and light infantry units were formed around.
Therefore bush warfare is not investigated here, rather it is the set piece battle in the open that the author, Stuart Reid looks at. At that immediately focuses the scope to a short period between 1759 and 1760 that nevertheless saw the little studied Battle of Fort Niagara, the legendary Battle of Quebec and the often overlooked Battle of St Foie.
These three battles don’t particularly reveal anything greatly striking about how conventional forces engaged each other in the 18th century. Rather they highlight some of the differences and challenges that regular troops, not trained for bush warfare, faced in North America. The French had to adapt set battle plans regarding columns to accommodate much smaller armies, they also had to make allowance for a large amount of militia being attached to regular battalions. The British were mostly refining their musketry, and did very little different, except in this sphere.
Both armies proved themselves to be incredibly flexible of course, but what the book actually revealed to me is a distinct lack on the part of field commanders, especially on the French side, which is telling, and how when push came to shove it was often down to battalion level officers to do the right thing. The lack of the horse in these campaigns would prove a distinct handicap to communications.
Maps and images, well chosen and properly accompanied by illustrative text, accompany every Osprey book, as do original paintings. Combat offers a look at both types of soldier, plus a split screen page were the same event is observed from both sides, and a traditional full page spread by Peter Dennis. As per usual with this artist, these illustrations are action packed, and very colourful. In the artist’s brief Reid must have stressed that Dennis pose the British Redcoat leaning forwards into the shot, which gives him a slightly strange look but highlights the sort of detail you can expect.
In other combat titles, a theme is used where either the same regiment, or the same soldier is used multiple times to allow a go pro “point of view” read. Here Reid’s combat analysis is based on the testimonies of a greater range of participants, which gives a more conventional “birds eye view” to the actions than is usual in some of the other ones, nevertheless it is an excellent short overview of linear fighting in America and highlights some interesting aspects of the war, showing how the two sides attitudes adapted to try and gain supremacy in Canada.