UK action
1964
color 138 min.
Director: Cy Endfield
CLV: $59.95 - available
           2 discs, catalog # CC1154L
In the
Hollywood heyday of the '30s and '40s, America was synonymous with
rip-snorting action-adventure movies. Audiences throughout the world
thrilled to such classics as Gunga Din, The Sea Hawk,
and Union Pacific. In the 1950s the Japanese made their
distinctive mark on the genre with Seven Samurai, Hidden
Fortress, and The Taira Clan Saga. But in the 1960s, thanks
to the success of Lawrence of Arabia, the British cinema began
to take charge of this exciting cinematic territory. One of the best
examples of this period is Zulu.Set in Africa in 1879, this
beautifully-crafted widescreen 1964 release recounts an incident
following the epic battle of Isandhlwana. There, seasoned, well-armed
British soldiers found themselves at a loss when confronted by a
massive army of skillfully trained Zulu warriors -- leading to what
many historians have cited as the most humiliating military defeat in
recorded history. Zulu begins only hours after this battle took
place, showing how a small group of British soldiers stood their
ground at a farm house against an onslaught of wave upon wave of
Zulus. Mixing terse "stiff upper lip" characterization, with
elaborately choreographed battle scenes, director Cy Endfield produces
the sort of excitement Raoul Walsh and Michael Curtiz brought to
Hollywood action epics -- with more than a touch of the visual
eloquence Kurosawa crafted for his medieval Japanese samurai
sagas.
No action film would be complete without interpersonal
conflict, and in Zulu director Endfield and his script
collaborator John Prebble supply ample portions of dramatic seasoning
to play off against the ever-accelerating action scenes. The chief
source of friction is between Stanley Baker (who also co-produced the
film) as Lieutenant Chard, an officer in charge of building a bridge
who gets caught in the battle, and Michael Caine (in his first major
screen role) as Lieutenant Bromhead, a novice upper-class
commander. With the Zulus beating at the door, Baker's officer takes
command due to seniority and tactical skill. But he knows he does so
at the price of Caine's scorn.
This bout of military one-upmanship
is just the tip of the iceberg, however. For just beneath this officer
class stands an army of lower-class soldiers, most of whom have been
conscripted into the service by force. Veteran British character actor
James Booth gives a wonderful performance as one of these soldiers --
a man who'd rather stay in sickbay at first, but who rises to the
occasion when the Zulus come calling. His bravery stands in contrast
to the hysteria of Jack Hawkins' Reverend Witt, a well-meaning but
naive man who can't seem to understand that his Zulu parishioners may
be interested in the scriptures, but when it comes to the British
occupation have a strictly non "love thy neighbor" policy. His
daughter, well-played by Ingmar Bergman veteran Ulla Jacobsson, is
equally unable to cope with the situation. And it's one of the film's
most telling bits of self-deprecating humor that this nominal "love
interest" is disposed of fairly early on. There's no room for romance
when you're surrounded by Zulus.
The Zulus, of course, are the real
stars of the movie. It's impossible not to be awe-struck at the sight
of these warriors moving in precise formation while chanting their war
cries as they advance on the farm encampment. From their first
appearance (Chapter 12), to their terrifying attack on the very center
of the army encampment (Chapter 20), to their eerie farewell (Chapter
27), they're overwhelming screen presences. In fact, while the British
get all the dramatic characterization, it's not unlikely for a viewer
to find his or her sympathies shifting to the Zulus' side. It's for
this reason that the film's finale (the battle ends in a quasi-draw)
is so satisfying. Both were brave, both were skilled, and in movie
terms at least, both were deserving of admiration.
Endfield is
certainly deserving of admiration, as is his cinematographer Stephen
Nathan, and composer John Barry. Thanks to their efforts, combined
with the spirited teamwork of the cast, Zulu is the sort of
action-adventure film whose like hasn't been seen again until 1979,
when Zulu Dawn was made -- a "prequel" dealing with the battle
of Isandhlwana. It was a beautiful piece of filmmaking, but for all
that, not quite as satisfying as the original. For there's always a
special something about being there first with the goods.
-- DAVID
EHRENSTEIN
Credits
Director: Cy Endfield
Scenario:
Shinobu Hashimoto, Hideo Oguni, Akira Kurosawa
Cinematography:
Asaichi Nakai
Art Direction: Takashi Matsuyama
Lighting: Shigeru
Mori
Sound: Fumio Yanoguchi
Music: Fumio Hayasaka
Producer:
Sojiro Motoki
Transfer
This edition of Zulu was
transferred from a 35mm fine grain print in its original widescreen
Panavision aspect ratio of 2.35:1.