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Fun little movie that depicts the British and Indians living in some sort of Utopia together, with an evil villain (Raymond Massey, hamming it up with a vengeance) planning to slaughter the British troops at a banquet. It's up to his prince nephew, Sabu--the greatest of all child actors--to stop him. Definitely politically incorrect (although not outright racist), but with a lot of heart and humor. The humor disappears at the end in place of heavy suspense, and it's all wrapped up with a rousing, drawn-out battle scene. Hey, any movie with Scottish highlanders singing around a campfire is worth watching if you ask me. And it's in Technicolor to boot. 7/10.

Exactly what you would expect from the era in which it was produced and given the man behind its production. A rip-roaring adventure yarn which attempts to convince its audience it is set in (then-)modern times, (with radio transmitters strapped onto to pack mules and attempts to slip in 'contemporary' songs, (of which more below)), but whose heart is really in the 1890s or thereabouts, extolling the virtues of British rule of the Raj, the comradeship formed across races by jointly facing adversity and evil plotters aiming to overthrow British rule - all wrapped up in a Kiplingnesque atmosphere and with LOTS of bagpipe music, highland dancing and marching ranks of soldiers. The acting/screen presence of Sabu and Roger Livesey are very good and commanding, as is also the case with Raymond Massey, (always watchable in any case), as the scheming 'baddie'. Val Hobson appears suitably 'fragant' and stiff-lipped in the lead female role, BUT whoever was responsible for the idea of getting her to mime to the 'contemporary' love song inserted in one of the dinner party scenes should certainly have been handed over to the insurgents for a VERY slow and agonising end! Conclusion: switch off the PC monitor, go back seventy years and just go with the flow of an entertainment movie which will zip by rapidly and leave you feeling you have spent 90 minutes in a care-free manner, (especially if you can hit the mute button when 'that song' comes on!)

Unabashedly pro-Raj, the story of a young Indian Prince and his friendship with some British army types. The release of this film was reported to have sparked anti-British riots in India. Sabu outdoes himself as the spunky and, ultimately, obsequious Prince who lines up with his friend/occupiers to battle the deliciously evil Raymond Massey. Very politically incorrect by today's standards the film is a good adventure yarn as well as a Korda tribute to the the rapidly vanishing British Empire. The plot borrows elements from the real life killing of Sir Louis Cavagnari and his party years earlier in Afghanistan. In reality British and colonial forces were actively engaged in military operations in Waziristan at the time of the making of the film.

The British are trying to make peace treaties with numerous tribes in India to make sure there isn't an uprising among rebel tribes. Captain Carruthers makes a treaty with the prince, but when the prince's brother (Prince Ghul) murders the prince, he now has the tribes just where he wants him (in a spot to annihilate the British). The murdered prince's son (Prince Azul) reaches Carruthers and tells him of what happened, so Carruthers takes a troop to Ghul's fortress. Ghul welcomes Carruthers with a ceremony of a 5 day feast, but when the feast is over Ghul plans to kill all the British troops with their smuggled machine guns, unless Azim can lead a British battalion to Tokot to stop Ghul's mad plan. Despite being politically incorrect with the British superiority over the people of India, the film does contain a fair amount of action and thrills to entertain the film going audience, granted it is no Gunga Din or Four Feathers (the latter of which and this film share the same author). Massey oozes evil as Ghul, and their is decent support with Sabu, youthful as ever as Azim, Massey as the stuffed shirt Carruthers, and Hobson as his wife. The score is decent, but not that rousing and shooting in color limited the best chances to use lighting. Rating, 7.

In 'The Film Answers Back' the Robsons devoted several pages to taking to task the antediluvian attitudes of this otherwise state-of-the art Technicolor production which served as an effective rehearsal for Korda's celebration of the British Empire 'The Four Feathers' and provides a record in colour of a young Roger Livesey, the lovely and gracious Valerie Hobson and Desmond Tester's red hair.

AEW Mason who is best known for writing Four Feathers which has been filmed several times going back to the silent screen wrote the story for Drums. It's set in a more modern time between the two World Wars era of the British Raj. Seen today it is quite an anachronism.

Not everyone in India bought Mahatma Gandhi's policy of peaceful non-resistance to British rule. Some like Raymond Massey playing a usurping uncle like Richard III believed in war. Trouble is he's only an uncle, brother to the ruler of his local satrapy and uncle to the Crown Prince played by Sabu.

In fact Massey has been plotting for years quietly importing arms and lining up support. He kills his brother, but unfortunately doesn't get Sabu who seeks refuge with the British governor general Francis L. Sullivan.

It's the next step for Massey that he hopes will rally the native Indians to his side. He has plans to massacre a troop of British soldiers, Scot's Highlanders to be precise and among the folks there are Sabu's friends Roger Livey and wife Valerie Hobson and a drummer boy Desmond Tester whom he's befriended. What happens here is a slam bang action scene very well staged by Alexander Korda and brother director Zoltan Korda.

These two Hungarians who were the backbone of the British cinema never missed an opportunity cinematically to salute the virtues of the British Empire. In some quarters Massey might be considered a hero in what he's doing.

In fact the British never outrightly ruled India with the troops they had there. What they did is play off the various religious factions, Hindu, Moslem, Parsee, Sikh, Jain etc. and the various rulers of the hundreds of little kingdoms that were within India after the last Mogul Emperor died. Military advice and supplies and trade did the trick for them for a couple of hundred years. What you see in Sabu's relationship with the British is quite true and you can see that in many other films like The Rains Came which was made in the USA.

This was an expensive product for the British cinema. In the Thirties color was even more rarely used than in the USA yet the Kordas sprung for it. And they did a remarkable job in making location shooting in Wales look like India. The print I saw could have used a restoration and hopefully it has been done or will be done.

Drums is anachronistic for today's audience both in India and in the west. But it is history if slanted Kipling like history.

A wicked Khan plans to use THE DRUM perched high up in his palace walls to signal the massacre of British soldiers invited to a banquet.

Sir Alexander Korda's London Films was responsible for this lively Technicolor action film which boasted outdoor scenes shot near the North-West Frontier with the assistance of the Mehtar of Chitral. It blends excitement, humor & history - definitely from a British viewpoint - into an attractive package sure to entertain the viewer lucky enough to find it.

Indian actor Sabu stars as the young Prince of Tokot who finds his life suddenly become very dangerous when he's forced to flee his usurping uncle and accept protection from the British Raj. Plummy-voiced Roger Livesey plays the Raj's stalwart envoy to Tokot who must find a way to stop the import of weapons to the evil new Khan, Raymond Massey, who is fomenting a rebellion. All three actors play their parts very well, with Massey especially attacking his villainous role with gusto.

Also in the cast are Valerie Hobson as Livesey's courageous wife; David Tree as a junior officer; and corpulent Francis L. Sullivan as the local Governor in Peshawar. Alfred Goddard appears unbilled as the hapless private Kelly.

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Born Sabu Dastagir in 1924, Sabu was employed in the Maharaja of Mysore's stables when he was discovered by Korda's company and set before the cameras. His first four films (ELEPHANT BOY-1937, THE DRUM-1938, THE THIEF OF BAGDAD-1940, JUNGLE BOOK-1942) were his best and he found himself working out of Hollywood when they were completed. After distinguished military service in World War II he resumed his film career, but he became endlessly confined for years playing ethnic roles in undistinguished minor films, BLACK NARCISSUS (1947) being the one great exception. His final movie, Walt Disney's A TIGER WALKS (1964) was an improvement, but it was too late. Sabu had died of a heart attack in late 1963, only 39 years of age.

Not until the story reaches the tense banquet scene does THE DRUM really come to life. Before that, there's a lot of character and plot exposition that slows things up considerably before the big showdown toward the end that is really the highlight of the drama.

SABU is the young prince that RAYMOND MASSEY wants to depose so that he can rule the unruly Indian tribes that resent British rule. ROGER LIVESEY is Captain Carruthers and VALERIE HOBSON is his lovely wife, a British couple adept at keeping a stiff upper lip while they deal with the uprising around them. RAYMOND MASSEY has the juiciest role and he's at his villainous best without overdoing it.

It's all very Rudyard Kiplingesque in treatment and if you've got a feeling of deja vu, you're not alone. What it lacks is the excitement of a "Gunga Din" or "Lives of the Bengal Lancers." The story is slow to build suspense and the Technicolor print shown on TCM had a washed out look that made THE DRUM look like a film in need of color restoration.

Livesey and Hobson haven't too much to do except to be their charming selves in a very British way and Sabu has been seen to better advantage in countless other films that followed.

Summing up: Not one of the best of this genre but worth watching for the climactic banquet and battle.

From 'Kim' to 'Carry On up the Khyber', from the famous to the infamous (stand up, Harry Flashman!), the North-West Frontier has proved a fertile source of conflict both fictional and historical... and deposed rulers and fiery mullahs have figured largely from that day to this. The plot of 'The Drum' cribs heavily (and at one point openly, with an impudently-inserted piece of dialogue listing the historical parallels that had been niggling at me!) from real-life events, especially in Afghanistan, and as other stories before and since have been based on the same material, this can result in a certain 'seen-it-all-before' sensation. But the winning element in this film is the touch of humanity and humour which helps the characters to become more than cardboard templates, from the drummer-boy and his misfortunes to the wry jests of the newly-appointed British representative walking open-eyed into a trap. Not to mention that, after a spate of films with seemingly pointless titles, I found it obscurely satisfying to encounter one where the eponymous instrument is actually significant both to the plot and its climax!

The always-excellent Sabu steals the film, as ever, in his role first as a self-possessed princeling and then as a fugitive in exile from his throne; the romantic leads, while well-performed, are less memorable. The tension in the banquet scene is tangible, and Raymond Massey as the usurper brings brains as well as menace to his role. The one element that rather shocked me -- with the exception of the inadvertent glimpse of buttock that reveals exactly what Scotsmen do or don't wear under their kilts! -- was the scene in which the said usurper is shot down by our wounded hero in cold blood, having thrown down his weapon. It's not customary for such an act to be depicted in an apparently approving manner; and certainly not in a film of this period...

I must admit that the question of the period itself had me slightly puzzled, although the mention of syncopation in the drum part for the dance should have given me a clue. I had automatically assumed the story to be set in nineteenth-century India in the heyday of the Raj rather than the contemporary world, and with few European civilian fashions on display, there was nothing to disabuse me of this until the heroine made an appearance in jodhpurs, which came as something of a shock! (And the subconscious resonance with the valleys of 'Carry On up the Khyber' turns out to be based in fact: locations from both were shot in Wales...)

But 'The Drum' is a rousing adventure as they used to make 'em, in the tradition of 'Charge of the Light Brigade' or 'Northwest Frontier'; if you like the genre, this one is a cracker.

Great morale booster for the British people, with another World War looming. Shows the bonding between British and Indians that contributed to the long sojourn of the British in India. Definitely a boy's film with all the majesty that the Empire films of the thirties could muster for audiences suffering from economic depression and worries over the rise of fascism and its onward march. Roger Livesey's character brings to life the type of relationship that so many British civilians and civil servants enjoyed with Indians, so sadly ignored/forgotten in the interest of history revision and political correctness.

...nevertheless I ended up greatly enjoying THE DRUM! Conceived as a vehicle to cash in on the popularity of child star Sabu (who'd just appeared in ELEPHANT BOY), THE DRUM is a film which fondly reminisces over the glory days of the British Empire. The film is set in the Northwest Frontier of India in the dying days of the Raj, where the occupying Brit troops are stiff-upper-lip possessing heroes and the Indians are divided into loyal subjects and dastardly moustache-twirling villains.

Into this mix is thrown Sabu, playing a slightly conceited but nonetheless loyal young prince, whose friendship with a youthful red-headed drummer leads to plenty of laughs. The plot begins aproper when the dastardly Prince Ghul (Raymond Massey) decides to lead an uprising against the just Captain Carruthers (Roger Livesey, the epitome of the kindly British gentleman).

Director Zoltan Korda possesses the ability to make his film look great, full of gung-ho battle scenes and convincing depictions of British colonialism - although the film was actually shot in Wales and most of the Indian characters are Brits in blackface! Still, Valerie Hobson is breathlessly beautiful as Carruther's sensitive wife, there's a pleasing hard edge to the violence (with severed heads tossed through windows and bloodshed) and a great climax which gives the film its title. They sure don't make 'em like this anymore!

There's a bit of Rudyard Kipling to this quite colourful story from Zoltan Korda telling of the ruthless "Ghul" (Raymond Massey) who usurps his brother after he makes a treaty with the British. Luckily, the heir "Azim" (Sabu) manages to escape the coup and make his way to "Capt. Carruthers" (Roger Livesey) who is to return to "Tokot" as an emissary but who might well be walking into a deadly trap designed to show the other mountain kingdoms that the Raj was not so invincible as they all thought. Can the young Prince get a warning to his friend in time to thwart disaster? Sabu holds this together quite enthusiastically, with Massey also effective as the menacing baddie who would steal his kingdom. Livesey is just a little too stiff as is Valerie Hobson as his altogether too prim wife and the writing is a little staccato but there's plenty of adventure and intrigue as the story races along entertainingly, if predictably. The production is almost lavish at times and there's some gorgeous location photography and even a game of polo to add a bit of richness to a lively tale of derring-do. It's not an history and like so many tales of the British "benevolence" in princely India takes a slightly rose-tinted view of the history, but it's still an enjoyable watch.

The Drum is a great British Empire movie in the tradition of Four Feathers (the Korda version) and Gunga Din. Anyone who gets a thrill from the skirl of bagpipes and a last minute charge to the rescue will be delighted by this film.

A rare opportunity to see a rip-roaring, all-colour, flag-waving vision of the British Empire - made by and for the people who supported and believed in it. Produced in 1938, less than a decade before a tired, post-war Britain finally quit India, this is an almost unique chance to witness the Empire's own view of itself. As such, it is a significant historical document.

Produced and Directed by the Korda Brothers from their London Studios, many of its scenes were actually shot in the Northwest Frontier of India, (modern Pakistan.) With the participation of the Gordon Highlanders and Indian Army, this has a spectacle that dwarfs many Hollywood features. The story, with its loyal "good" Indians, and treacherous "bad" Indians runs deep with the paternalist ideology which provided the justification for the later Empire. With a firm-jawed main character called Caruthers, (Roger Livesey), whose wife cannot endure the constant beating of the drums, the film seems to be the source of more than a few imperial clichés. Raymond Massey joins the cast as a convincingly sinister villain, and Sabu is the young princely hero. And although it jars today with its casual patronising of the Indians, and an assumption of an almost divine British right to rule far-off lands, it is a grand epic that reflects the last hurrah of a now-vanished era.

The film location is always shown as India but in fact part of the film was shot in the snowdonia range of mountains, in a place called Cwm Bychan lake,llanbeder in the county of Gwynedd. My Father was an extra on this film and I noticed that no mention has ever been made that part of the filming was actually done in North Wales

The Drum is perhaps a little too short, and the story is slow-moving to start with. However, the story is a great one, and does have some memorable scenes especially the banquet scene which is very tense and the ending which is really quite stirring.

The Drum is also ravishingly photographed, the cinematography is gorgeous and does justice to the splendid costumes and sets. John Greenwood's music is also a nice touch, while the script is good and Zoltan Korda does a fine job directing. The acting is also good enough, Sabu is very beguiling and Roger Livesey is likable and benevolent. For me, Raymond Massey stole the show, he is truly wonderful as the irredeemably swinish villain.

All in all, well recommended, also the political incorrectness actually didn't bother me, but I'd say The Four Feathers is better. 8/10 Bethany Cox

Plot-- British colonial rule in parts of India is imperiled by the murder of the local monarch by his sinister brother (Massey). Now the British contingent (Livesey, Hobson, et al.) must rely on the young pro-British nephew (Sabu) to rally against the usurper.

As a boy growing up in a small mid-western town, I never missed this epic and its companion feature Four Feathers (1939) in our theater. After all, where else in pre-TV middle America could all that scenic exotica be seen. The be-turbaned Indian natives, the be-skirted English soldiers, the high mountain passes, all in rich Technicolor, along with the rich pageantry of masses of people moving here and there. And shouldn't forget the crackling, if somewhat clichéd, storyline, along with a charmingly youthful Sabu, a gloweringly sinister Raymond Massey, and a slim, long-limbed Valerie Hobson. Then there's that thundering drum, along with slinky native girls and twirling British Highlanders. The Korda's certainly spared no expense and it shows, from spirited opening to satisfying close. Sure, the subtext amounts to British colonial propaganda that no longer wears well. Still, the lavish spectacle remains, a treat for the eye. Of course, I've changed in many ways from those earlier days, but the Korda production can still entertain and impress, if given half a chance.

In colonial India, the natives live happily and peacefully under the kind rule of their British masters. Representing the bond between the two nations, young Prince Azim befriends several of the British officers. However his uncle Ghul is less welcoming of the British and has dark plans to slaughter them and raise a rebellion among the tribes of the hills.

Some critics have pointed to the fact that, if this film were made today, it work spark outrage and be roundly condemned. This view ignores that, when the film was first screened in India in the late 30's, it sparked riots among the populace. However, the statement is true as well as being null and void, for there is zero danger of this film ever being made now! The plot is very pro-Empire and it is brazenly flag waving for the British. Looking back now, the film is laughable in it's depiction of it's characters. The British are kind and loving to all the Indians they encounter, while the Indians love them in return; those that don't are, of course, shifty and untrustworthy.

This is rather insulting if you think about it too much - I must admit I wasn't offended but then I am neither English or Indian and know little of the history that is clearly being twisted here in favour of propaganda. The film does have a nice vein of good humour to it though that prevents it being too heavy, while the battle scenes are of the `up'n'over' school of filming. The plot itself is too simplistic and can't keep the charade up - especially now that it will be clear to most viewers that it isn't a fair telling.

The cast are good, but again, there's no way that an `Indian' film would be shot today in Wales with the majority of the cast in blackface! The standout actor is Sabu. True his character is a little too good to be true but he has cheeky attitude and he is good fun throughout - just a shame his character seem to vanish for about a quarter of the film. The villainous Massey is also good fun and I enjoyed his performance. The British (namely Livesey and Hobson) are very stiff, although they do get the more heroic roles towards the end.

Overall this film is worth seeing as we will hopefully not see quite it's like again. The film is un-PC in casting, script, plot and characters, while the history it claims to tell is nothing more than a flag waving exercise that rightly started angry riots in Indian when it was shown there. However it is worth seeing for the period, the glorious (for the time) Technicolor and an amusing and fun performance from Sabu.