Joseph Losey never saw a cornice, plinth, or pediment he didn’t like. This most architectural of directors opens King and Country with a slow, caressing shot that runs over two minutes long, moving around the details of a war memorial from arch to statuary to frieze. We hear only traffic, and then we cut to newsreel footage of an explosion with a boom. Surely, only Losey would open a movie this way.
Then we get to the credits, scored by Larry Adler’s lonely harmonica as the close-up camera roves over mud, boots, and duckboards of the trenches of WWI. The explosion repeats again, followed photos from the Imperial War Museum, then capped off by a transition of one startling skull-headed soldier’s corpse to the head of Tom Courtenay, lying down (already dead without knowing it) and supposedly playing that harmonica we’ve been hearing. We also hear a few lines from A.E. Housman. In this way, the film announces itself as serious art.