Parole d'homme

SHOUT AT THE DEVIL is the splendid adaptation of the splendid Wilbur Smith novel about a British gent and an American poacher who take on the might of the German Empire in Africa in the First World War. As expected given the source material, it's an exotic and action-packed adventure yarn, delightfully old fashioned with it.

The film wins plenty of kudos for the central pairing of Roger Moore and Lee Marvin, two larger-than-life actors who make for a great combination. Moore plays a slightly more serious riff on his usual persona, while Marvin is all swagger and drunken behaviour. The film wisely uses their potential for comedy by pairing them in lots of hilarious scenes, not least the never-ending fist fight.

Of course, there's a serious story buried in here too, along with one or two devastating plot twists that only Smith could have come up with. Reinhard Kolldehoff is a thoroughly despicable villain, both pompous and cruel, and the countdown-timer denouement is as exciting as it was when I read the book years ago.

If you like films that celebrate good, old-fashioned derring do, Dutch courage and thoroughly caddish behaviour, then you'll be sure to enjoy this one too.

A British action adventure; A story about unlikely partners in the East African ivory trade who join forces to fight occupying German troops in German East Africa. Adapted from the Wilbur Smith novel, it is based on a true story about a raid on the SMS Konigsberg by an ivory hunter in World War I. It is an opulent film, well photographed but pastiche, the sort of actioner that harks back to an older generation of films featuring exploitative, larger-than-life characters put through a cavalcade of action and unlikely situations, out of which humour and thrills naturally arise, with a cartoonish villain to satisfy all tastes. Lee Marvin plays wonderfully, a man on the make, out to plunder the environment, downing copious amounts of hooch in the process, and Roger Moore, as Sebastian Oldsmith, fits his part well, giving contrast as an establishment toff. Both commit and play amiably amidst some slack and silly slapstick comedy. Peter R. Hunt stages scenes with workmanlike efficiency, although some sequences are like longueurs. Overall, it is a treat as a postprandial Sunday matinee. As an aside, the full theatrical release is the version that garnered more credit for the fuller and more rounded characters it portrays, though some extra scenes are stark in portraying the ivory trade.

I feel I should mention that the version of "Shout at the Devil" that I watched was the full length 150 minute version. When the movie originally played in theaters, it had been cut by about half an hour. Normally, I feel that the original full length version of a movie is the version to see, but in the case of this movie, I think that the edited version might play better. I'm not saying that the full length version is bad, but I'm saying that it's too long for its own good. There is quite a considerable amount of padding on display, and as a result the movie moves quite slowly at times. There are some good things along the way all the same - there is some good action and suspense, the African backdrop is colorful and catches the eye, and it's fun to see Lee Marvin and Roger Moore paired up and generate considerable chemistry. So it's nowhere near a total loss. All the same, I think a more snappy pace would have helped things considerably.

As a World War One naval buff, I enjoy this film on one level. As a film enthusiast, I enjoy it on another, all the more so for it being based on fact.

The actual story of the Koenigsberg is actually far less glamorous than the fate of the Blucher in this film but no less enthralling. After the ship was destroyed, her crew joined the German land forces under Count Paul von Lettow-Vorbeck and, together with their few thousand fiercely loyal African troops, fought 1 million British soldiers to a standstill for 4 years until, after the Armistice, they surrendered to the Portuguese, undefeated and proud. A tale well worth reading, far better than the fiction.

Back to the film. The central character is one Flynn O'Flynn, a thoroughly disreputable character, played by Lee Marvin. Always good value for money, he merely reprises Ben Rumson in Africa - no effort required! Roger Moore, aged 49, plays the 'young' interest! Mind you, he don't look bad for it! He is married to the delectable Barbara Parkins, Flynn's daughter Rosa, really the only female character in the film, a grim role she carries off to perfection. Fleischer, the evil German, the exact opposite of von Lettow-Vorbeck, is brilliantly overplayed by Rene Kolldehoff - he really is unlikeable! Also look out for Ian Holm as the mute Arab servant Mohammed.

The film has great pace, really rolling along, well shot in wonderful scenery. It has been well researched too. The Blucher, an actual German cruiser, has been pretty accurately recreated. The whole film has a very genuine feel.

I can see why it's not popular with female viewers. It's quite bloody, very cruel and Barbara Parkins character has a dreadful time of it. The scene in which the farm is burned is quite harrowing.

There are plenty of laughs too. Flynn O'Flynn has all of Ben Rumson's comic characteristics. The big fight between Marvin and Moore is very funny. And then there's Roger Moore blacked up as an African porter - he's about as convincing as I would be - and I'm blond!

If you're a fan of Ripping Yarns, then this one is for you. If not, then I wouldn't bother.

This is, as other positive reviewers have noted, a well told adventure story (based on real WWI events) with s strong, realistic script, excellent performances by Marvin, Moore and the wonderful character actor Ian Holm in an unusual role as a mute Muslim servant to Marvin's character. The female ingenue is played with charming demureness and grace by Barbara Perkins, who btw, is an absolute doppelganger for the American actress Joan Hackett. The Kaiser-era Germans are well portrayed as equally cruel and at times restrained as no true villians (or heroic characters for that matter) are simply all good or evil. And the near final scene where Marvin's character uses the film's title to quite meaningful effect (don't wish to spoil the ending), is poignant and deeply bittersweet. All the superhero films so popular today are fine, but if you wish to see genuine heroic characters struggling with not only difficult circumstances but there own all too human frailties, see this both thrilling and perceptive adventure tale.