is re-trained as an ambulance attendant. Although at first reluctant and intent on remaining apolitical, Pauline begins to show the effects of fascist indoctrination in her behaviour. It is a reunion with old friends (an antifascist doctor and his wife) that gives Pauline pause, and when she subsequently discovers they are harbouring an injured partisan, she reluctantly agrees to help. Gradually Pauline learns more about the impacts of the German occupation, and she sees her friends arrested. The discovery of her association with the antifascist couple by her superiors in the IAO leads to her demotion and transfer to another part of the country. She welcomes the move at first, as her new job appears to have less of the paramilitary trappings. However, Pauline discovers that she has unwittingly taken part in a forced euthanasia programme and killed a group of foreign forced labourers who had contracted tuberculosis. The film ends with Pauline being arrested after protesting and refusing to continue; but before she can be put on trial, she is captured by the resurgent British Resistance and agrees to work for them as they fight to liberate the country with the help of arriving American troops. In the finale, Pauline tends a group of wounded partisans while, out of her view, a large group of soldiers from the "Black Prince Regiment" of the British Legion of the Waffen-SS who had surrendered are summarily shot. Production The film was directed by Kevin Brownlow, who later became a prominent film historian, and Andrew Mollo, who would later become a leading military historian. Brownlow developed the concept of the film when he was 18 years old, in 1956. He turned to Mollo, a 16-year-old history buff, to help him with the design of costumes and sets. Mollo was intrigued by the project, and became his collaborator. The film was in the making for the next eight years. It Happened Here was shot in black and white on 16 mm film, giving it a grainy newsreel appearance, though no actual stock footage was used. Most of the equipment used in the production was borrowed. The audio quality and lighting on the opening reel are rather poor, which makes the dialogue difficult to follow for the first few minutes. The scenes set in Salisbury in the earlier part of the film were photographed and edited by Peter Watkins. Stanley Kubrick, who was intrigued by