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Zulu is one of the greatest historical action movies ever made, and one of the large war movies. It is based on what historian Michael Glover terms “the most highly decorated battle in British history”, the defence of Rorke’s Drift during the Zulu War of 1879. Eleven of the defenders received Britain’s highest award for military valor, the Victoria Cross–the rarely awarded counterpart of the US Congressional Medal of Honor. The movie is a landmark in the art of cinema for its incredible combination of situation, cross-cultural engagement, a exact narrative, trustworthy script and fair cast. This 1964 film never looks tired, despite my many years of rerunning it in 16mm, the Criterion laserdisc, and now the Front Row Entertainment Inc. DVD. Anecdotally, military colleges have old Zulu to explain the power of directed massed musketry, and leadership and teamwork in combat.
Zulu is the greatest achievement of the career of British actor Stanley Baker, who co-produced with US-born, formerly blacklisted director Cy Endfield. Nothing else in the genre really measures up, including Endfield’s so-called “prequel”, Zulu Dawn, or other epics based on British colonial wars, such as Khartoum. It was filmed on area in the grandeur of Natal, South Africa, with descendants of the Zulu warriors who took section in the unusual action portraying their forebears. The prominent Zulu politician and archaic chief, Mangosuthu Buthelezi, plays the Zulu leader, his distant relative Cetewayo. Mass Zulu participation in the project guaranteed the uplifting dignity and authenticity of cross-cultural characterisations of the film. Early blooming scenes with masses of Zulu extras note the Zulu royal kraal, with a mass wedding of warriors in progress as news arrives of the annihilation of a strong British force at Isandhlwana. These recent scenes probably never could be filmed again because of social and cultural change. The nearest conceptual comparison in the war genre that comes to mind is the cross-cultural aspect of Tora! Tora! Tora!
Stanley Baker believed so strongly in Zulu, despite difficulties in raising finance, that he sank considerable of his absorb money into it. Playing a British Army engineer officer thrust by events into leading a desperate defensive action following the effort of Isandhlwana, he heads a strong cast, including a young Michael Caine as an upper crust infantry officer. There are amazing cameo roles by Jack Hawkins as an alcoholic missionary; Nigel Green as the imperturbable Colour Sergeant Bourne, always ready with a calming order or a bayonet; James Booth as Private Hook, portrayed as a malingerer who is perhaps the least likely Victoria Inappropriate winner; Patrick Magee as Surgeon-Major Reynolds, continuing up to his elbows in surgery even as Zulus try to wreck in. The narration by Richard Burton is very heavenly, and in character with the Welsh origin of the British soldiers. Welsh and Zulu singing on the cinematic battlefield is spine-tingling.
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This film deserves the very best frame-by-frame and soundtrack digital restoration and DVD transfer that technology can provide, working from an unique 70mm print. Meanwhile, the Front Row Entertainment Inc DVD, about the equal of the Criterion laserdisc, will have to do. The image quality is worthy less provocative than we now request of unique DVD releases. The color and audio are unprejudiced passable. It is in widescreen format.
Stanley Baker died in 1976. Cy Endfield died in 1995. Other players who have passed on include Jack Hawkins in 1973; Nigel Green in 1972; and Patrick Magee in 1982. Before all key players in this project die, a retrospective on the making of the film–interviews, at least, with participants like Michael Caine and Mangosuthu Buthelezi–should be compiled for a current collector’s edition DVD. At the time of writing, Sir Michael Caine (age 69) seems to be enjoying the afterglow of his prolific career in cinema and dabbles in restaurants, and Dr Buthelezi (age 74) is Minister for Home Affairs in the Government of South Africa. James Booth (age 69) continues on stage and shroud.
Michael Glover’s book, “Rorke’s Drift” (Wordsworth Editions 1997) is recommended reading for anyone with a detailed interest in the historical background.
In January, 1879, a column of British soldiers comprised primarily of the 24th Regiment of Foot, South Wales Borderers, was wiped out at the imperfect of the mountain, Isandhlwana, in Natal, South Africa. A gargantuan contingent of 4,000 Zulu warriors then moved on to the undermanned expedition inferior at Rorke’s Drift. This movie tells the fantastic just legend of the subsequent battle, and of the victory of the 90 some British soldiers, many of them sick, who held their post in the face of overwhelming odds. Glimpse Donald Morris’ definitive book, _The Washing of the Spears_, against which this film tale compares most favorably.
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This neglected classic was filmed at a time when it was collected honest possible to associate the word “glory” with military victory– without a sneer. The makers of the film avoid preaching and honest let the battle issue the epic of the men of both sides. The British soldiers are not the “valid guys” nor are the Zulus “unpleasant guys,” and the lone derogatory comment about the fighting ability of the Zulus is instantly rebuffed by a tough Boer cavalryman who says, “And objective who do you consider is coming to wipe out your microscopic garrison, the Grenadier Guards? ” This is a soldier’s fable about a soldier’s fight.
Did the Welsh really mumble “Men of Harlach” as they manned their mealie-bag barricades?
Did the Zulus really render a warrior’s salute as they broke off the action on the second day of the battle?
It doesn’t matter. The film is lawful in the historical basics that really count.
Beautifully filmed on spot, with an outstanding, stirring pick up by John Barry, this film features solid but appropriately understated performances by Stanley Baker, Michael Caine, and Jack Hawkins.
I hesitate to mention the horrible, politically right pre-quel, _Zulu Dawn_ which was released almost 25 years after _Zulu_, but any viewer who has the dismal experience of seeing _Zulu Dawn_ should not be set off from seeing _Zulu_, which shines in comparison.
Whether one is enthusiastic in military history or a “movie for men who like movies,” _Zulu_ is a noble addition to a film library. From first to last, it is a compelling, genuine film.
1988 Silver Eagle
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