Adiós al rey

This is one of the best films of the 80's yet it is criminally overlooked. Released in an era when Rambo was king, it seems many people just didn't get the film's messages of loyalty, redemption and personal integrity. In other words, it is a true adventure and not just a bang-bang action flick. The kind of movie we need to see more of. Nick Nolte has never been one of my favorite actors but he shines as the gruff King Learoyd. Learoyd is a man of action on the surface but he has been running from conflict his whole life. When he sees that the justice of our "real world" is perverted beyond hope, he retreats to the more honorable world of primitive, uncorrupted Borneo.Eventually, the real world intrudes in the form of World War 2. As The Botanist tells him, "you can no longer avoid history". Learoyd replies, "The world's so full of crap that you're bound to step in it someday. Is that what you call history?" Finally, Learoyd can no longer hide and the war hits him with its full fury. He is shattered by loss yet not unbeaten.He retains his integrity and transcends to non-violence. In one of the film's most emotional scenes, he accepts the surrender of the Japanese Colonel who has tormented him with grace and understanding, leading to the Colonel's own redemption. This is a gorgeous film. full of breathtaking scenery and well-conceived action. The performances are all top-notch, especially Nigel Havers as The Botanist. Why is Havers seen so little?He seems to be an actor of depth and talent. I also enjoyed the character of Tenga, who brought some welcome humor to the movie. Farewell to the King can be accused of being too sentimental and I can't disagree. There are worse things to have in a movie than sentiment, though. I hope this film achieves some of the recognition it is due. It is certainly John Milius' best.

One person I know saw this movie and called it "Ramblonde" after Nick Nolte's long hair. Other people have characterized as an adaptation of King Lear.

"Farewell to the King" is really neither. It's a story about a man who finds his kingdom and himself against the backdrop of World War Two Borneo.

The movie is touching and dramatic about a man who leaves behind a war he didn't want and everything he knew, only to have to face it again. Many questions are raised about the meaning of loyalty and honor, and who is your enemy and your friend.

Not, it's definitely not a "Rambo" movie, more a tight and involving drama the way they used to make them.

All the other posters make good points, but the one they miss is that this is first, last and simply, pure Milius. If you don't know who John Milius is you probably do not read movie credits. John Milius is a screen writer and director. Kind of a cult figure. His stock in trade is manly virtue. His detractors would use the term "macho", but that is too derogatory. Movies you may have see by him are, "Wind and the Lion, Red Dawn, Conan the Barbarian, Jeremiah Johnson, Clear and Present Danger, The Rough Riders, Apocalypse Now, Magnum Force, Dirty Harry, Life and Times of Judge Roy Bean. See a pattern here?

Every one of the above movies deals with male relationships, honor, loyalty, fall and redemption. Romance relationships take a back seat to the relationships between the male characters, be they protagonists or antagonists. Jeramiah Johnson is a great example of this and shares many theme similarities with Farewell to the King.

Milius the director's sense of honor transcends the norm and underscores his reputation as a Hollywood rebel and outcast. Leroyd is betrayed by his erstwhile allies symbolized by Gen. MacArthur who gives his word and violates that promise. Leroyd ultimately accepts his former hated Japanese enemy simply because he too possesses a personal code of honor similar to Leroyd. A similar scene plays out at the end of Red Dawn, where the Cuban Commander lets the dying Jed escape, carrying his dead brother (Charlie Sheen through a shared warriors sense of honor. Jed then goes to a playground to sit in a swing, presumably regaining their lost childhood in joined death. This is a familiar theme in Milius' work.

Another familiar theme is that of the Rebel or loose cannon. Dirty Harry, the Marine Captain in Wind and the Lion, are just a few examples. Milius is the quintessential loose cannon in Hollywood. So he probably feels a kinship to the characters of which he writes.

There are many other themes that are familiar to all his movies. The female as a catalyst and semi-tragic figure is another. His women move his protagonists to greater heights. The female at risk or her unfortunate demise drives the central character to either his doom or his redemption, or both.

I have to say that I am a Milius fan. This movie is one of my favorites by him. Yes, I cringe at some of the acting, like Sgt. Tenga's horrible fake British accent (Kenyan by way of Chicago, perhaps?) The English speaking "Apaches" also make me roll my eyes. But scenes like "Advance the Colors", or Leroyd's redemption at the end of the movie, more than make up for the other lapses. This movie is good stuff. Get a six pack, or a bottle of scotch, a few cigars, some munchies and enter the world of John Milius. A world where men live by their honor, disputes are resolved man to man, and if enemies survive the ordeal, the sit down and drink to one another as survivors.

I can't explain why, but this movie captivates me. I had never seen or even heard of it, and bought it from a video store that was going out of business. And I am glad that I did.

For some reason this movie stirrs emotion for me. and the last line at the end, well, you'll see, if you see the film.

If you have a chance to rent this movie, do so. Even if you don't get the charge out of it I did, you will at the very least, be entertained.

I recommend it. 7 out of 10

This is a curious piece whose dramatic arc takes a while to reach its full speed, but builds to a climax of considerable horror, involving cannibalism, genocide, loyalty and revenge. It is, I think, a mistake to label it an action movie: it is a drama, and played with a theatricality to which the viewer must adjust.

Nevertheless, once it gets into its stride this film has considerable charm.

The core cast bond closely and Frank Mcrae, who plays Sgt Tenga, and Marius Weyers (Sgt. Conklin) manage to give warmth to the invaders who threaten the survival of The People of the Hills.

The central relationship, between Nolte and Havers, is a fragile one which teeters on the brink of formulaic in Nolte's rescue of the sick Englishman and their mutual debts of gratitude and obligation. However, as they plunge into the conflict against the remnants of the defeated Japanese army, they each shock one another with what they are prepared to do.

I think the climax of the horror, which I do not wish to spoil, is brilliantly done. I felt the protagonists' turmoil and understood their brutal reactions, while still being shocked by it.

This film is open to charges of hokiness, theatricality and slowness, but, given a chance, it explores themes similar to those in The Thin Red Line; the imperialistic side effects of the Pacific war and the dehumanising effect of soldiering, against the fully human power of love and community.