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War & peace
6 min read

On war fighting

Why do soldiers go to war? There are a thousand different answers writes Owen, a serving soldier.

Owen is an officer in the British Army.

Soldiers silhouetted by dust and sunshine work at a fence with tools.
British soldiers dismantle a fence line in Afghanistan.
Jamie Peters RLC/MOD via Wikimedia Commons.

The car bomb went off at 0630, rudely awakening me from a deep sleep. The noise, big and bassy, was followed by silence, followed by the wailing of the camp attack alarm. I felt a range of emotions in those moments, but definitely present was a sense of relief. “So that’s what it sounds like…”. I had been in Kabul for two or three months by that point, and had always been slightly on edge whenever I walked between buildings, knowing that an explosion was inevitable at some point, but not knowing how loud it would really be. Afghanistan was my first operational tour – it was 2014 and the British presence in country was shrinking rapidly, and my reward for a good performance on my intelligence officer’s course was assignment to a unit deploying to the Afghan capital. It might seem a strange reward, but it was sincerely meant, and gratefully received. 

Why does a soldier go to war? You could ask a thousand men and women in the armed forces and get a thousand different answers. The most straightforward (and superficial) answer is “Because I was ordered to”, but delve below the surface and you find all manner of motivations and justifications. All I can offer you is why I think I wanted to join the British Army and fight (there are reasons that are probably hidden even to me) and how as Christian I make sense of war. 

I joined the Army at a time when what were known as Blair's Wars were stuttering to an unsatisfactory conclusion. We had withdrawn from Iraq, leaving behind a broken country and unwittingly paving the way for Islamic State, and soldiers were still fighting and dying in Helmand Province, Afghanistan. While I was going through the selection process for the Royal Military Academy Sandhurst there were a plethora of war documentaries on television that had been filmed using helmet cameras, giving an unprecedented first-person view of conflict. A normal person might have watched those programmes and thought they wanted no part on it whatsoever. I saw them and wanted in. Why? 

What appealed to me most was the responsibility; of deploying to a dangerous place with your fellow soldiers and doing everything in your power to keep them alive.

I look back and think there were all sorts of reasons floating round my head. There was undoubtedly a slightly boyish sense of adventure – it seemed like most of my peers at university were off to be bankers, lawyers or management consultants, and I wanted to do something a bit less grey. There was a desire to challenge myself too – a worthier reason, but still not the full story.  What appealed to me most was the responsibility; of deploying to a dangerous place with your fellow soldiers and doing everything in your power to keep them alive and to complete your mission. I saw soldiering as less a job than a calling. 

Throughout my career much has changed but that sense of responsibility is still there. It is at the heart of how I understand being a Christian in conflict zones, my personal ‘theology of war’, if you like. When I came home from Afghanistan, I was asked by a friend whether I had killed anyone. I said I hadn’t. He then asked if I thought I could bring myself to do so should the situation arise. I said that I hoped so, because I had been on armed sentry duty multiple times and so was the only person standing between my colleagues and the enemy. If I had identified a suicide bomber but decided not to shoot in that moment, then I would have been betraying the responsibility I had to my friends. Indeed, I doubt that any suicide bomber would have thought worse of me had I shot him – he would have recognised that I had my job to do, just as he had his. 

Who is anyone to judge between us, and who am I to claim the morality of what I do for a living?

Of course, this line of thinking is problematic. If I am just doing my job and the suicide bomber is doing his, then in moral terms we are surely are only as good, or as bad, as each other. His God calls him to do his duty and look after his brothers and sisters, and so does mine, and we are therefore equally right or equally wrong. Who is anyone to judge between us, and who am I to claim the morality of what I do for a living? 

And yet sincerely holding a belief does not make you right. The failings of moral relativism are well-documented, yet too often we act as the sort of people who treat Pilate’s question “What is truth?” as a viable philosophical position rather than as the moral evasion that it is. We in the West are jaded by complex and bloody counterinsurgencies with no clear end state, affirming Bart Simpson’s dictum that “There are no good wars, with the following exceptions: the American Revolution, World War II, and the Star Wars Trilogy”. But the conflict in Ukraine has shown that binary wars between an obvious aggressor and a nation defending their homeland are not merely history, and that today people can still take up arms for justifiable reason.  

I'm a Christian so I am a pacifist in the sense that peace is vastly preferable to war, and I have seen first-hand the suffering and misery it causes. Yet as a Christian too I cannot affirm peace at all costs when it means that rights and lives of innocent people can be callously disregarded by an oppressor who can only be resisted by force. I look at pictures of bombed-out apartment blocks in Ukraine, of kidnapped schoolgirls in Nigeria, of civilians murdered in Afghanistan and cannot affirm anything less than this, that there are things in this world worth fighting for.  

I would reflect too that both my calling as a soldier and my faith have given me a sense of the value of life not as something not to be clung too at all costs, but as a gift to be made the most of. One of the things we did in our first week of Sandhurst was to make a will. There I was, fresh out of university, deciding who should inherit my meagre possessions (I didn’t even have a car), and asking the bloke next to me, who I’d only met 24 hours ago, to witness my signature. To be honest, it didn’t really feel real. What felt much more real was posing for a photo in the unit sports hall two years later, arms crossed, Union Jack and regimental flag behind me, knowing that it was the photo that would be used in the newspapers if I was blown up in Afghanistan. 

You see that mutual love in tight-knit units where one soldier is prepared to die for another.

When you’re forced to confront the fact that you might die, you start to realise what it is that you are living for. I believe in the sacredness of life as a God-given gift, which makes the idea of sacrifice which lies at the heart of the Christian faith all the more powerful. “Greater love has no one than this” Jesus says in John’s Gospel, "to lay down one’s life for one’s friends”, and you see that mutual love in tight-knit units where one soldier is prepared to die for another. I think it’s that idea of living and possibly dying for something or someone more than just me is what keeps in the Army, when many of those who made their wills in that room at Sandhurst have left for civilian jobs.  

Which brings me back to my initial reflection, that there are myriad different reasons why people join the armed forces and go to war. My Christian faith is at the heart of my reason(s), but I'm realistic to know that many of my colleagues do not share that faith and so would have a different motivation (though perhaps not quite as different as one might think). We all have stories to tell about why things matter to us, and matter to us so much that we think they are worth fighting for, in whatever guise 'fighting' takes. You have heard my story. What’s yours? 

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Culture
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War & peace
6 min read

Bonhoeffer: how to rouse a deaf world to moral action

Comparing today to the past is risky, a new biopic helps us do it well.

Theodore is author of the historical fiction series The Wanderer Chronicles.

A man dressed in 1930s clothing, sits with others at a table looking pensive.
Angel Studios.

Historical analogies are a dangerous, and often inaccurate, way of interpreting the times in which we live. “This is just like that” has a habit of making us react and respond to “that” - which we think we understand so well - when really, we should be taking time to appreciate the nuances of the problems which “this” uniquely poses us now. 

That said, I don’t suppose ever, in the last 80 years, have analogies abounded in our media with such ubiquity that we find ourselves in a historical moment facing similar threats to our freedoms and way of life to those arising across Europe in the 1930s.  

Thus, the movie Bonhoeffer, Todd Komarnicki’s fantastic new biopic of the dissident German theologian and Christian martyr, appears to come at an opportune moment in our culture. 

As writer and director of this two-hour-long epic, Komarnicki’s admiration for his subject shines through like a faithful sun breaking through an overcast sky. And whether you are a Christian or not, there is undoubtedly much to admire in Dietrich Bonhoeffer’s life and the way he lived it. 

It's a story worth hearing - which, given its Christian overtones, still has the power to break out of the boundaries of Christian sub-culture to a wider audience, with its message of courage in the face of overbearing evil.  

Born in 1906, Bonhoeffer was still a young man when Hitler and his newly formed Nazi party rose to power. He trained as a Lutheran pastor, was an accomplished theologian, and became a key founding member of the Confessing Church – the remnant of the German church who did their best to withstand Hitler’s ideological take-over. (For which, many paid with their lives.) By the early 1930s, Bonhoeffer had already perceived the dangers which few others in the German church seemed able to see or else willing to call out. And after abandoning a short stint of study in the US, he returned to his native Germany to do what he could to call the church back to herself before it was too late. No easy task. 

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A close up of a 1930s man wearing wire-rimmed glasses, looking pensive.
Dietrich Bonhoeffer (colourised).

One existing photograph of Bonhoeffer shows a young, earnest face in steel-rimmed glasses, an expression of wisdom beyond his years weighing heavy on his brow. But for all the seriousness of his situation, he was, by Komarnicki’s account, an ebullient character. Persuasive, playful and able to find joy even in the darkest of times.  

In Bonhoeffer, he is played brilliantly by Jonas Dassler, a native German actor who brings an intensity and intelligence to the role which must be a fair reflection of the man himself, as well as allowing room for a levity of spirit, especially in his friendships and family ties.  

There’s a scene early in the film, foreshadowing much that was to come. Dietrich the boy plays the Moonlight Sonata at his older brother Walter’s funeral wake. The piece was Walter’s favourite, but none of the mourners pay the slightest attention. Dietrich slams the piano shut and runs off in frustration. “No one listened,” he tearfully complains to his mother. “No one cared.” This theme of rousing a deaf or unfeeling world to moral action runs through the whole movie. 

We can all agree that Bonhoeffer is a man to emulate in our own times. The question is where would his instincts lie in the political and cultural landscape of today. 

Komarnicki has done a solid job unfolding Germany’s inexorable descent into darkness, often marking key moments as Bonhoeffer the man makes his stand against the state with actual quotations from his work. The most famous serves as the movie’s strapline:

“Silence in the face of evil is itself evil. Not to speak is to speak.” 

The script is peppered with such exhortations, which seems directed as much to the audience of today as they do to Bonhoeffer’s own, eighty-or-ninety-odd years ago. Such injunctions seem all the more arresting as Bonhoeffer’s story pursues its arc from pastor to martyr, and the noose awaiting him at Buchenwald concentration camp just days before Germany’s final capitulation.  

It is no doubt hard to frame a movie around the moral courage and conscientious stand of a single man, however admirable that man may be, particularly when so much of the struggle is happening inside his own head. Perhaps that is why much of the less historically accurate material has been included. The thriller subplot – of Bonhoeffer’s involvement in a plot to assassinate Hitler – brings some necessary forward propulsion to the story, but seems the least congruent with what we know of the man. Much of this more thrusting narrative is intercut with scenes of Bonhoeffer’s last days before his execution, the wrestling with his faith and his fate, before a final resolution of peace, even joy in his final moments. “Eternity, eternity, eternity,” he murmurs. A word he used to repeat endlessly with his twin sister as they whiled away the time smoking cigarettes. But a word which ultimately gives him the focus and the spiritual strength to hold his courage to the end. Although slower, these provide a more convincing and compelling portrait of a man who deserves to be remembered as a hero, not only of his own age, but of any age where evil is determined to silence truth at any cost. 

As a modern audience, this is where the hazard lies. To return to my original point, it is all too easy to tar one’s political or cultural opponents with the label of “fascist” or “Nazi” – merely because they happen to disagree with you. (And sadly I’ve seen this done by otherwise mild-mannered English theologians over this very film.) Some have said this is akin to shunning another child in the playground because they have “cooties”. It’s over-simplistic and facile. If anything, it reveals the casual propagandising of a suggestible mind. 

Few would watch this film and associate themselves with its antagonist (Hitler) over its heroic protagonist. We can all agree that Bonhoeffer is a man to emulate in our own times. The question is where would his instincts lie in the political and cultural landscape of today. 

Jesus had harsh words to say to the pharisees and scribes who build tombs for the prophets and decorate the monuments of the righteous. “You say, ‘If we had lived in the days of our fathers, we would not have been partners with them in shedding the blood of the prophets.’” 

How easy it is to assume we would have been on Bonhoeffer’s team.  

And this is my one criticism of the film: its portrayal of the bishops and clergy who did succumb to Hitler’s ideology seems too blunt-edged. They rail from the pulpit in the manner of the Fuhrer himself, marking them as ravening ideologues; they bark out Party platitudes, red in the face. I imagine the reality of how Nazi ideology infiltrated and captured the church – as it did many other institutions – was far more subtle, far more insinuating and insidious. More boiled frog than scalded cat. 

So it surely is in our day. While National Socialism has passed away, the totalitarian instinct which animated it has sadly not. My prayer is that we have the wisdom, courage, and above all discernment, to learn Bonhoeffer’s lesson and pass the tests of our time. 

Komarnicki’s excellent movie may just help us to do that. 

 

Bonhoeffer is out in UK and Irish cinemas from 7th March 2025. For more information and to book tickets visit the film's site.

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