The main emphasis of this film is laid out in its title: Singapore is defined in relation to its maritime activities. As the reviewer for Film User puts it, this film regards the city as a ‘Traffic junction for both passengers and merchandise’ (FU, July 1951, 358). Indeed, the viewer is provided with the point-of-view of one of these passengers. The film opens with shots filmed from a boat as it arrives at the port. The commentary informs us that what we are witnessing is what the average passenger would see: ‘almost all travellers get their first sight of Singapore from the harbour’. It then shows a party of travellers descending the steps of passenger boat. One in particular is focussed upon, and we see him stop to take in the sights. The film then returns to what could be described as point-of-view shots, as we are led along this traveller’s journey into the city. Significantly, the traveller whose view we assume is a white, wealthy-looking male. It is a western view of the city that we are given. After we have seen what Singapore has to offer, the travellers (and the viewer) return to a boat. The film’s final point-of-view shot has us looking back at the harbour as the ship pulls away.

Film User described this film as being of ‘much value for the geography lesson’ (FU, July 1951, 358). Political geography is the documentary’s main subject, but with a bent towards commerce and urbanisation, rather than the backgrounds of the people of Singapore. The commentary is fact-based, its dispassionate tone enhanced by virtue of the fact that (as with many GBI films) there is no backing music used. We learn that Singapore is the ‘seventh largest port in the world’ and that Sir Stanford Raffles bought the island in 1819 ‘to extend British trade’. A summary of the products that are handled at the port is given; a roll-call that underlines the importance of trade between the countries of the Empire. The benefits of this commercial activity are also outlined. We are informed that the port has provided locals with the chance ‘to learn skilled trades’ (at which point a Chinese boat-builder is shown). The film’s educational mission is furthered by its occasional use of maps, which point out trading routes and the suitability of the location for a port. Only after it has detailed tin-making, shoe-making, the tapping of rubber trees, the steps made to check the spread of malaria, and the island’s reservoir system, does the film turn to the Singaporean people. We learn that the city has ‘varied races and religions’, and we also learn something of wealth distribution amongst its ‘one million inhabitants’. The differences in creed and in wealth are both conveyed with images of architecture. To illustrate the different religions we are shown the exterior of a mosque and a temple, and to illustrate the differences in status we are shown representative buildings (with a bias towards wealthy residences) and also the location of particular districts on a map.

Given its story-telling method, it is perhaps fitting that the film gets no closer to the people of Singapore than the ‘average passenger’ would. In fact, out of all those shown in the film, the closest attention and greatest amount of screen time is given to the European tourists. The film even admits to the cursory nature of our visit: ‘The travellers come via Singapore, change ships, and leave again’. The circular nature of the film’s story helps to disguise the fact that, in terms of its coverage of the Singapore’s trade and infrastructure, the film has shown us more than a typical visitor would get to see. Moreover, the camerawork is not restricted to simple point-of-view shots. Some sophisticated techniques are employed. In particular, good use is made of panning movements. On occasions the cameraman moves from what can at first appear to be a fairly innocuous image towards a more revealing aspect of Singapore, which in addition sheds light on the original choice of image. For example, one shot begins by showing the corner of a slightly run-down building, and then pans towards a busy harbour street with people unloading goods. It then provides us with a final contrast, settling on a view towards ‘the great office buildings of European and Asiatic merchants’. The filmmakers also show a talent for telling juxtapositions. For example, while filming the Hindu temple they also capture the gas holder that stands nearby. Unfortunately, however, and in keeping with the GBI tendency towards simplification for the sake of clarity, Singapore’s distinct ‘mixture of east and west’ is not elaborated upon by the commentary.

Richard Osborne (February 2010)