Battle for Life
At his moment of triumph
in the Falklands, Lt Robert Lawrence was shot in the head. His struggle
for survival is now the basis for BBC1’s film 'Tumbledown'.
Tumbledown is a
sharp cone of rock rising from the bare Falklands landscape south-west
of Port Stanley. As dawn broke on 14 June 1982 the summit was seized by
the 2nd Battalion Scots Guards after one of the fiercest battles of the
brief Falklands campaign: hours later the Argentine garrison in the
the final stages of the battle, in which pistols and bayonets were
used, 3 Platoon of Right Flank Company cleared a heavy machine-gun post
manned by men of the 5th Marines, one of the few regular units deployed
by the Argentines in the conflict. As he stood in his moment of
triumph, the platoon commander, Lieutenant Robert Lawrence, 21, was
shot in the back of the head by a sniper. The high velocity bullet took
away 40 per cent of his brain.
Besides being the name of a mountain and a battle, Tumbledown has come
to be the metaphor of Robert Lawrence’s life from that moment—three
years of rehabilitation, his leaving the army, of seeing his world in
pieces and trying to reassemble them in a new order. It is in this
sense that Charles Wood has used it as the title of his film based on
Robert Lawrence’s experience which comes to BBC1 on Tuesday, directed
by Richard Eyre.
Making Tumbledown has been
part of the recovery process for Robert himself. He has worked on the
film as a special consultant, and hopes that this will bring him
full-time employment in television and film. For all the public
exposure, Tumbledown must
have been an intensely private affair.
Charles Wood, now Robert’s friend, says his film ‘challenges our
preconceptions about what it is to be a soldier...that we send the
young men out to fight and kill, and we feel guilty about it.’ In the
end it is a drama drawn from the trauma of one young man. It is not a
documentary about the Falklands campaign, nor the stuff of regimental
history; the details on the conflict itself and the units and
individuals concerned are sketchy.
Viewed from the top of Two Sisters, two-and-a-half miles away, the
battle for Tumbledown looked like a strange fireworks display as
artillery shells and illuminating rounds fired by the navy lit up the
mountain covered with a thin layer of snow. It was to take six hours to
get Robert Lawrence down to the dressing station at Fitzroy settlement.
He lay outside the makeshift operating theatre for several hours, with
no painkillers to console him, imagining he had been left till last as
he was the least likely to survive.
From Fitzroy Robert Lawrence was transferred to the converted hospital
ship SS Uganda, where he was
not allowed to sleep for more than a few minutes for fear that he would
slip into a coma. Once he woke from a nightmare to find himself
attempting to strange a nurse.
Finally the flight home from Montevideo in Uruguay, and the story
begins—of recuperation and rehabilitation, of the sense of abandonment
and loss at leaving the army, and the new life in film and TV.
The main supporting
cast in these episodes, in life as in the film itself, is the Lawrence
family. John Lawrence had served 28 years in the RAF, retiring with the
rank of wing commander, and is now assistant secretary at Lord’s. Jean
Lawrence, the least voluble but one suspects most powerful member of
the family, is a lecturer at London’s Westminster College.
John Lawrence has lived his son’s story with passionate intensity. The
great moment of pride was the award of the Military Cross to Robert for
his conduct and leadership in the battle. On the other hand he has
taken up the weapons of pen and phone with alacrity against what he
describes as the obtuseness of authority, and the misunderstanding of
Today Lawrence father and son are very much a team, down to writing
their memoir of events after the Falklands, When the Fighting Is Over, being
published by Bloomsbury. John Lawrence is the model of a retired wing
commander, down to the neatly trimmed RAF moustache. ‘But,’ he
confesses, ‘though I wouldn’t say I’ve shifted sides politically, my
view has changed quite a lot through all this.’
The first phase of recuperation for Robert Lawrence, once back in
England, was a round of examinations and assessments, a sojourn at the
Woolwich Hospital, and at a military rehabilitation centre.
The agony of recovery was compounded by the sense of loss in leaving
the army. Father and son were enraged by a letter from the Military
Secretary’s office announcing discharge from active service without
even a medical: it was retracted quickly. There is an element of
dramatic inevitability about the path of mutual misunderstanding traced
by Robert Lawrence and the army.
a teenage tearaway in the action-man mould—he had left his Scottish
public school, Fettes, by mutual consent—the Scots Guards were to be
his life. After his injury, he felt abandoned. In the film we see him
undergoing the symptoms described by psychiatrists as the trauma of
parental separation: anxiety, rage, and finally a gesture to emotional
When discharge came, much was mended in the flesh as well as the
spirit. He could walk, which experts at first had feared might never
happen, and, though, paralysed down his left side, his brain was in
full vigour. He had received a pension and an initial payment from the
South Atlantic Fund, a body he still likes to bombard with demands and
questions, producing a diverting stream of correspondence.
At this point he was introduced by a mutual friend to Charles Wood, who
interviewed him at length before producing a Tumbledown script. Charles Wood
recalls: ‘He was still very frail, but I realised that Robert’s
employment in the project would have to be part of the deal of making
Rejection and disappointment was to follow. Movie mogul David Puttnam
considered the script but couldn’t in the end come to an agreement with
the Lawrences. It seemed that the script would never be filmed,
until producer Richard Broke persuaded the BBC to make it, with Richard
Eyre, soon to head the National Theatre, as director.
Filming was to produce testing and stressful times for the production
team, their adviser Robert Lawrence, and his alter ego, the Lawrence of
the drama played by Colin Firth. Robert Lawrence says his worst moments
were reenacting the episode of the Fitzroy dressing station in a Nissen
hut in Oxfordshire (he carries photographs of his wounds like a
Both Eyre and Broke are full of praise at the way Robert applied
himself to learning his new trade. ‘I think he could certainly make a
career in the film industry,’ says Broke. ‘I thought he might have
ceased to function when he got cold, but in the event his stamina and
resilience was astonishing.’
During the battle scenes on location in Wales Robert was in his
element. ‘His contribution to the logistics of moving the extras and
equipment up the mountain was brilliant,’ says Charles Wood. ‘If we
still made epic films in this country he might have a role as a
For actor Colin Firth, playing Robert Lawrence has been a
powerful experience. ‘At times it has been pleasant, at times very
difficult,’ he said on location in London. ‘It might have been very
tough having the real Robert by my side, but he was very helpful. I do
worry, though, how Robert is going to get through all this. He has got
to come home from the wars some time.’
In the past six months another form of production has absorbed Robert
and his wife Tina—their young son Conrad, born just after filming was
completed. ‘For someone like me it’s hard to find another stealing all
the attention, so I come fifth in the pecking order after the baby, the
house, the shopping, the dog.’ Otherwise it is a question of ‘cracking
on with the future’, working for two films as production assistant and
The next milestone is possible emigration at the end of the year to
Australia. Opportunities in film and television production beckon, he
feels. Above all there is the sun: cold can still affect him cruelly.
There he should get the chance to come home from war at last and Robert
Lawrence should conquer his private Tumbledown.
—by Robert Fox, a special
correspondent of the Daily Telegraph, reported the Falklands War for
BBC Radio and is the author of Eyewitness
Falklands (Metheun). The
script of Tumbledown by
Charles Wood is published by Penguin.