The World at War (30th Anniversary Edition)

The Second World War was different from other wars in thousands of ways, one of which was the unparalleled scope of visual documents kept by the Axis and Allies of all their activities. As a result, this war is understood as much through written histories as it is through its powerful images. The Nazis were particularly thorough in documenting even the most abhorrent of the atrocities they were committing--in a surprising amount of color footage. The World at War was one of the first television documentaries that exploited these resources so completely, giving viewers an unbelievable visual guide to the greatest event in the 20th century. This is to say nothing of the excellent, comprehensible narrative. Some highlights:

• A New Germany 1933-39: early German and Nazi documentation of Hitler's rise to power through the impending attack on Poland
• Whirlwind: the early British losses in the blitz in the skies over Britain and in North Africa
• Stalingrad: the turning point of the war and Germany's first defeat
• Inside the Reich--Germany 1940-44: one of the most fascinating documentaries that exists on life inside Nazi Germany, from Lebensborn to the Hitler Youth
• Morning: prior to Saving Private Ryan, one of the only unromanticized views of the Normandy invasion
• Genocide: this film is one of the most widely shown introductions to the Holocaust
• Japan 1941-45: although The World at War is decidedly focused more on the European theater, this is an important look into wartime Japan and its expansion--early 20th-century history that lead to Japan's role in World War II is superficial
• The bomb: another widely shown documentary of the Manhattan Project, the Enola Gay, Hiroshima, and Nagasaki

The World at War will remain the definitive visual history of World War II, analogous to Gibbon's Decline and Fall of the Roman Empire. No serious historian should be missing The World at War in a collection, and no student should leave school without having seen at least some of its salient episodes. Rarely is film so essential. --Erik J. Macki

Please note, "The World At War" was produced between 1971 and 1974, which means the interviews with veterans and other war survivors were filmed close to thirty years after the conclusion of World War II.

I watched much of this series when it was first telecasted in the 1970s, and continued to view reruns of programs over the last 25+ years. I had thought that I had seen every episode two or three times, but after finishing the complete DVD collection, I'm pretty sure I completely missed some programs and saw only bits-and-pieces of others.

What a tremendous production. Beautiful reproduced on DVD, with excellent color and superb graphics (maps).

I especially appreciated the opening special, "The Making of..." with producer Jeremy Isaacs, as well as Isaacs' brief introductions to each of the 26 programs. I only wish he had prepared similar introductions to the supplementary material on Discs 4 and 5, but you can't have everything.

"The World At War" is hundred times better than the typical fare found on A&E, The History Channel, and even PBS. That's not to say that quality productions are not being made today, but Jeremy Isaacs' production is just plain better than most things regularly scheduled documentaries on cable and broadcast television.

Special mention must be made of the music by Carl Davis and the writers, who are too numerous to mention. Everyone familiar with this series knows the contribution of Sir Laurence Olivier, definitely the finest documentary narration I've ever heard.

As an American, I particularly appreciate the British perspective, which offers a different view of the breath, scope and horror of the war. The series really puts the current War on Terrorism in perspective.

The supplementary material begins with an extended interview/commentary by Traudl Junge who served as Hitler's secretary. She's a fascinating person, speaking calmly and thoughtfully about her former employer, especially the events leading up to his suicide.

There is an equally interesting interview with historian Stephen Ambrose, filmed in the early 1970s. While looking 25+ years younger, Ambrose sounds almost the same as he does today during his numerous C-Span and PBS appearances.

The most fascinating of the eight hours of supplementary material are the programs dealing with the Death of Adolf Hitler and the extended two part examination of the Final Solution.

Thank you, Amazon, for making this wonderful documentary so accessible.

For those of you contemplating this major expediture, you won't regret purchasing this landmark visual/aural history of World War II.

And remember, this DVD collection will be available for your children and grandchildren.


Excellent Series   January 1, 2002
J P Falcon (Fords, New Jersey United States)
197 out of 202 found this review helpful

When investing in any DVD, especially a boxed set, you might ponder the question, "How often will I watch this?" Let me say that your purchase of The World at War will offer you endless viewing opportunities! Besides the 26 original episodes, all of the extra features that were produced afterwards are included in the set. There is so much information generated in over 30 hours of material that you will discover something new with each repeated viewing. Each episode will hold your attention from first to last, and they are efficiently indexed so you can easily review a map or replay a speech. Along side the emotional impact of the pictorial images, you have Carl Davis' moving score, a judicious use of period music, personal accounts from all the major powers, and Sir Laurance's strong narration, making this the most comprehensive documentary on the subject. Now if we can only have World War I, narrated by Robert Ryan, available, we would have the documentary bookends to the two most devastating wars in the 20th century.


The Finest WWII Documentary Ever Produced   September 15, 2001
Frank "the man" (Alberta Canada)
118 out of 119 found this review helpful

For History buffs and those who have a keen, deeply felt interest in World War II beyond just the military events, the World at War, produced by Thames Television (1981) and released earlier on VHS by Thorn/EMI, is a 26 episode documentary set apart from all other documentaries about WWII. No other, with the exception of Walter Cronkite's CBS series, comes close to an unbiased, analytical perspective of a War that cost perhaps 50 million lives and took an emotional and philosophical toll we are still trying to comprehend today.

Narrated by Sir Laurence Olivier and covering all aspects of the war, this definitive series is used by many colleges and universities as a source for History and Documentary Film courses. There is an incredible depth of archive footage used; skilfully woven with interviews of major figures in the War from Britain, US, Canada, Europe and Japan. Many major eye-witness leaders and ordinary people who were still alive in 1981 contributed sometimes surprising, sometimes incredible, and sometimes haunting interviews. Yet, for all its skilful editing and historical sophistication, it is clearly presented and emotionally compelling. In my opinion, it is, along with Kenneth Clark's "Civilisation", the best ever produced British documentary.

What makes this a stellar and overpowering account of the War is Olivier's narration. Never blustery, patriotic, or theatrical, Sir Laurence delivers pointed, thoughtful analysis with his incredible command of English and oration. Music for the series was composed by Carl Davis and even the opening credits set an unforgettable tone in a haunting image of a child in a photograph, dissolving in flames. This series is for those trying to make sense of a 6 year period when the world went mad. Five Stars PLUS.


Unromanticized, unrelenting, unforgettable. . . .   December 28, 1999
John A. Kuczma (Marietta, GA USA)
64 out of 66 found this review helpful

Rarely does a documentary hold a viewer enthralled from start to finish, a feat which The World at War accomplishes from the opening sequence through the closing credits. The definitive film documentary of the second great global conflict, this production is first rate in every aspect. Archival footage, insightful interviews, intelligent editing and the classic narration of Sir Laurence Olivier are welded into a powerful video production focussed on presenting a visual record of the war as opposed to an editorial commentary.

Obviously, this is a British production which leans somewhat sympathetically toward the English view of the struggle and concentrates on the European Theater of Operations. However, interviewees include representatives of all the major powers, and even relatively minor theaters of operation (such as Burma, India and others) are covered.

The full range of expected topics are included; the period leading to war, Blitzkrieg in Poland, the Battles of Britain and the Atlantic, the Holocaust, Barbarrosa and the Atomic Bomb, naming only a few.

The individual episodes are taut and compact, covering well-defined topics and timeframes, and work well as individual programs or, as they were intended, components in a larger picture. Much of the footage is actual combat photography; therefore much is black and white and some has less than perfect production value. However, this only adds to the overall impact of the presentation.

There is no attempt to glorify the combat, lionize or villify any of the participants, or to second-guess leaders. Events are depicted as they developed and, where tactical or strategic misjudgements are indicated, they are usually pointed out by persons actually involved in the planning or execution to the operations.

The World at War is a straight-forward, sobering examination of the central event of the twentieth century. No serious student of history should miss seeing it, and no student of military history should fail to include it in his or her video library.


Not an attempt to explain the war, but to narrate its horror   September 5, 2001
darragh o'donoghue
52 out of 54 found this review helpful

Television documentaries are notoriously quick to date - the assumptions and methodologies of one generation are rejected as inadequate by the next. In any case, the trend has moved from sweeping panoramas, to small-scale, small-focus micro-histories.

So, after 30 years, how does the massive 'World at War' hold up? Surprsingly well, actually. There are a number of reasons for this. Although it is a single documentary with an overall coherence, drive and tone, it is also a series of 26 discrete hour-long documentaries, each written and directed by different talents.

As a whole, these documentaries create a totality, exploring all the connecting elements of the war: the pre-history of all the major countries; detailed accounts, analyses and reminiscnces of the major events, battles, leaders, tactics; memories of 'ordinary' civilians and combatants, as well as the big names (although the former aren't named). But individually, the leisurely detailed studies of each topic anticipates the methods of the future micro-historians, giving each part requisite dignity within the whole.

Another reason for the programme's success is its still astonishing footage, much of it recently released from Germany and Japan, giving fresh visual evidence to old stories.

For me, the programme's continuing validity lies in the fact that it is not really a documentary at all. 'The World at war' is an epic, tragic poem in 26 cantos, narrating the decline of European civilisation, a momento mori for the valiant dead. The narrative is constructed like a Homeric epic, an account of leaders, enmities, inevitable battles, warriors, desruction, death, aftermath.

Laurence Olivier's narration, possibly the best thing he's ever done, is a remarkable misture of storyteller, poet, witness, disbelieving guide; the scripts ring with metre and poetry rather than grey fact. Carl Davis' continually inventive score unites and underlines the entire work; the sound-effets dramatising the footage, unforgivable in a usual context, are perfectly acceptable here. The image of the destroyed French village, its entire population murdered one afternoon by the Germans, stands as a grimly articulate symbol, not just for the war, but for this documentary, in a genre designed to record and uncover the truth, faced with questions it can never answer - how? Why?