Five and Under opens with a title card stating that "Women are in the war as
much as their men", then poses the question of what has happened to the children
they would otherwise be looking after. Notwithstanding some problems with sound
synchronisation, the film explores this question in a stylistically fluid way.
Documentary footage of various child care arrangements is interspersed with
scenes in which the 'Voice of God' narrator (in this case a female voice - that
of character actress Beatrix Lehmann) interacts with various protagonists, from
working mothers to nursery nurses, speaking direct to camera about their
experiences.
Like many works from Britain's classic documentary era, Five and Under is by
turns informative, analytical and emotive. As a public information film, it
helpfully summarises the viewer's main options for childcare: baby minders,
nursery schools and day nurseries. As a work of reportage, it touches fairly
honestly on challenges such as under-staffing and child behavioural problems (in
a striking sequence, a group of unattended children is seen beginning to run
amok before a matron arrives and intervenes), and the inherent tragedy of the
war itself (the interior scenes contrast with the frequent images of
rubble-strewn streets). Finally, as a work of propaganda, it first indicts
society ("We allowed two things to happen - slums and war"), then looks forward
to a postwar Britain of greater social provision. The film thus betrays the
broadly socialist sympathies of its makers such as director Donald Alexander.
One of many films by Paul Rotha Productions for Britain's wartime coalition
government, it even foreshadows the rhetoric and policies of the Labour
government elected four years later.
For 21st century viewers, the progressive sentiments may be undermined by the
unconscious sexism on display (the film clearly implies that the need for such
widespread institutional childcare will diminish once mothers return to their
rightful place at home). And like many products of Britain's documentary
tradition, its representations of class are open to question (the portrayals of
working-class women are less than convincing). But as a social document, it is
not only of historical but also of topical interest. Today, as in 1941, many
mothers work outside the home, whether from choice or necessity, and finding
affordable and appropriate childcare is as big a problem as ever.
Patrick Russell *This film is included in the BFI DVD compilation 'Land of Promise: The British Documentary Movement 1930-1950'.
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