Copyright

Justin Smith

Published On

2024-12-19

Page Range

pp. 129–200

Language

  • English

Print Length

72 pages

Media

Illustrations24
Videos2

4. The Cutty Wren

(Saint-Germain-en-Laye, Autumn 1944)

As the Allied forces broke out of the Normandy beachhead and fought eastwards during the summer of 1944, so ANCXF moved in October to a new location on the outskirts of Paris, at St. Germain-en-Laye, where they occupied the Château d’Hennemont, recently vacated by officers of the Wehrmacht. While the Wrens contingent supported the Navy’s work in repairing recaptured channel ports and mounting the amphibious landings of the Walcheren campaign which opened the sea route to Antwerp, their days off presented frequent opportunities to visit Paris, for shopping and entertainment. Joan Prior’s letters home, the memoirs of Elspeth Shuter and the vivid memories of other Wrens contribute to the picture of a proud city rising above the clouds of occupation with rousing Armistice Day commemorations, impromptu sporting encounters, colourful autumn fashions, and cinema and theatre visits contributing to a resurgent nightlife. Despite the onset of freezing temperatures and the first falls of snow, Christmas spirits at Château d’Hennemont ran high and full Naval festivities ensued. Yet, as the new year that would bring eventual peace dawned, with it came personal tragedy: an aircraft crash which claimed the lives of Admiral Ramsay and his closest staff officers. It was a catastrophe for those Wrens and officers who had worked so tirelessly for their leader to achieve the triumph of D-Day, and for whom ultimate victory was so nearly within reach.

Contributors

Justin Smith

(author)
Professor of Cinema and Television History at De Montfort University

Justin Smith is Professor of Cinema and Television History at De Montfort University Leicester, where he is Director of the Research and Innovation Institute in Arts, Design and Performance. Since 2010 he has been Principal Investigator on the AHRC-funded projects Channel 4 and British Film Culture (2010-14), Fifty Years of British Music Video (2015-2018), Transforming Middlemarch (2022-3) and Adapting Jane Austen for Educational and Public Engagement (2024-5). He is the author of Withnail and Us: Cult Film and Film Cults in British Cinema (I.B. Tauris, 2010), and co-author (with Sue Harper) of British Film Culture in the 1970s: The Boundaries of Pleasure (EUP, 2012). With Karen Savage, he is the co-author of ‘Deference, Deferred: Rejourn as Practice in Familial War Commemoration’, in Pinchbeck, M. and Westerside, A. (eds) (2018), Staging Loss. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-97970-0_3 . Smith’s interest in digital innovations in the archive is illustrated by https://middlemarch.dmu.ac.uk/ (2023) which is considered to be the first digital genetic edition of a screen adaptation of 19th Century literature. Smith is an archival historian with special interests in post-war British cinema, television and popular music, exploring issues of cultural identity, popular memory and family history. https://www.dmu.ac.uk/about-dmu/academic-staff/technology/justin-smith/justin-timothy-smith.aspx