Theirs Is The Glory

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The film was directed by Brian Desmond Hurst, who was himself a veteran of the First World War, having survived Gallipoli where he had served with the Royal Irish Rifles. The producer was Leonard Castleton Knight, head of Gaumont British News. The script was written primarily by Louis Golding but honed by Hurst's protege Terence Young (who subsequently went on to direct They Were Not Divided and the early Bond films). Young had been in the Irish Guards with the Guards Armoured Division with XXX Corps seeking to relieve Arnhem during the battle and hence the authenticity of the eventual story-line. The veterans who starred in the film also actively collaborated on the script. [2] Production [ edit ] Production of Theirs Is the Glory (1945) who are Israelites, whose is the adoption, and the glory, and the covenants, and the lawgiving, and the service, and the promises, On the Night of the Fire is regarded as one of the early examples of British film noir. Released in December 1939 at the outbreak of the Second World War and set in Newcastle upon Tyne, it charts the slow moral destruction of a barber following his theft of some money. Film critic David Quinlan described the film as "grim but gripping".

if he did this to make the riches of his glory known to the objects of his mercy, whom he prepared in advance for glory— 24even us, whom he also called, not only from the Jews but also from the Gentiles? Importantly and selflessly the men selected to star on the big screen received no individual credits as they were representing the 10,000 men of the 1st Airborne. The Director, Producer and crew also declined credits in the film for the same reason. Who were these men we see on screen? Did they really deserve the accolade Theirs is the Glory? Hurst's only excursion into farce was His and Hers (1961) and saw a strong cast of Terry Thomas joining the carry-on stalwarts Kenneth Williams, Joan Sims and Kenneth Connor supported by Oliver Reed. In 1962, in his late 60s, Hurst returned to John Millington Synge and adapted the script and produced and directed The Playboy of the Western World, his last film. Who are Israelites; to whom pertains the adoption, and the glory, and the covenants, and the giving of the law, and the service of God, and the promises; The film is my favourite because of the wonderful experience of working with soldiers, and because it is a true documentary reconstruction of the event. I say without modesty it is one of the best war films ever made.The Times, in its obituary of Hurst in 1986, commented that Dangerous Moonlight (1941) was his best-known movie, "a big popular success" which "launched a cycle of pictures with concerti as their theme music" [11] because of its successful utilisation of Richard Addinsell's Warsaw Concerto. The Human Blarney Stone: The Life and Films of Brian Desmond Hurst was released as a 40-minute feature with VCI DVDs 60th Anniversary 'Diamond' edition of Scrooge. A detailed article on the making of the film is contained in After the Battle Magazine, Issue Number 58. The Lion Has Wings (1939), co-directed with Michael Powell): the fil depicts conflict at the end of the 1930s and foreshadows the coming war and the vital role of the Royal Air Force.

They are Israelites; theirs the adoption, the glory, the covenants, the giving of the law, the worship, and the promises; Who are Israelites; to whom pertain the adoption, and the glory, and the covenants, and the giving of the law, and the service of God, and the promises; They are Israelites, and to them belong the adoption, the glory, the covenants, the giving of the law, the temple service, and the promises. Not as though the word of God hath taken none effect. For they are not all Israel, which are of Israel: Theirs Is the Glory - Arnhem, Hurst and Conflict on Film (2016), by David Truesdale and Allan Esler Smith, takes Hurst's Battle of Arnhem epic as its centrepiece and chronicles Hurst's ten films on conflict.by works but by him who calls—she was told, “The older will serve the younger.” d 13Just as it is written: “Jacob I loved, but Esau I hated.” e Pegasus the Journal of the Parachute Regiment and Airborne Forces. A multi-part analysis and review of the making of Theirs Is the Glory (Winter 2012 to Winter 2013), by Allan Esler Smith. a b John Hill. "'Purely Sinn Fein Propaganda': the banning of Ourselves Alone", Historic Journal of Film, Radio and Television, University of Ulster, pp. 317, 327 The Directors Guild of Great Britain installed a blue plaque at Queens Film Theatre in Belfast for Brian Desmond Hurst, unveiled on 13 April 2011 by the Irish film producer Redmond Morris. [18] On the same date the Ulster History Circle unveiled a blue plaque at Hurst's birthplace, 23 Ribble Street, East Belfast. This plaque was relocated in the summer of 2016 to the nearby Strand Arts Centre and Cinema on 152-154 Holywood Road, Belfast, BT4 1NY. [19] Theirs Is the Glory (also known as Men of Arnhem), is a 1946 British war film about the British 1st Airborne Division's involvement in the Battle of Arnhem (17 to 25 September 1944) during Operation Market Garden in the Second World War. It was the first film to be made about this battle, and the biggest grossing UK war film for nearly a decade. [1] The later film A Bridge Too Far depicts the operation as a whole and includes the British, Polish and American Airborne forces, while Theirs Is the Glory focuses solely on the British forces, and their fight at Oosterbeek and Arnhem.

That, according to the old ecclesiastical interpretation, "Christ would be called here, not only God, but even God over all, and consequently would be designated as Θεὸςπαντοκράτωρ, which is absolutely incompatible with the entire view of the New Testament as to the dependence of the Son on the Father." Hurst's early Irish work is John Millington Synge's Riders to the Sea (1935) and the Irish War of Independence love story Ourselves Alone (1936). Irish Hearts (1934) "is certainly one of the main contenders for the first Irish sound feature film". [8] Riders to the Sea was shot in Connemara where Hurst used the actors of the Abbey Theatre in Dublin and "the film reflects the disparity between the two, with the actors delivering their lines in a highly technical manner whilst the camera revels in the bleak, natural beauty of the coastline and sky. Hurst's visuals are invariably compared with those of his mentor, John Ford and the opening shots of Riders... are markedly Fordian in their elementary quality". [9] And she named the child Ichabod, saying, The glory is departed from Israel: because the ark of God was taken, and because of her father in law and her husband… Weaving original footage from the battle with re-enactments shot on location at Oosterbeek and Arnhem, the film was shot a year after the battle had ravaged the Dutch streets. As well as veterans, the film also features local people like Father Dyker (a Dutch civilian priest who conducts the service in the film) and Kate ter Horst (who reads a psalm to the wounded men in the cellar) re-enacting their roles and what they did for the airborne troops during the battle.Brian Desmond Hurst, in his unpublished autobiography Travelling the Road, explains about the idea for the film.