La chevauchée de feu

This colossal 1987 production - believe it or not - from RKO PICTURES is an Australian film closely resembling LAWRENCE OF ARABIA in its intent and rightly compared to ZULU. With a huge cast of Oz actors and directed by PHAR LAP (look it up) warhorse Simon Wincer it is basically about the last massive charge in the Middle East desert during World War One....an event still on the yearly Australian military forces roster of "Anzac" celebrations. Many other comments on this site will give you details of the history of the event and rightly applaud this lavish spectacular film. RKO Pictures had reformed with some co financing in the 80s and this is one of their few productions. BEST LITTLE WHOREHOUSE and THE BORDER are two others that spring to mind produced with Universal Pictures. With a $7 million budget and all of it on screen THE LIGHTHORSE became the last of the truly international films from Australia in the 80s. Others of this time are GALLIPOLI and CAREFUL HE MIGHT HEAR YOU and THE MAN FROM SNOWY RIVER and WE OF THE NEVER NEVER...each are films made with a lavish widescreen cinema release in mind and each huge Oz successes. THE LIGHTHORSEMEN is well worth the 140 minutes or so of carefully paced storytelling, all laced with Aussie humor and superb design and photography. The charge in the last two reels is truly breathtaking and on a cinema screen was particularly overwhelming, rivaling the battle charge in LAWRENCE OF ARABIA for sheer thrilling visuals. No CGI in this film... it is all real and scary and played and filmed for keeps. One thrill for cinema owners of the day was to have the film commence with the original cinema scope RKO logo...beeping away from the tower on top of the world. Wonderful!

A First World War Australian cavalry -- sorry, mounted infantry -- film set in the Holy Land, that's not something one tends to see every day. So, for me, the fact that, yes, the characters and situations can be a little clichéd at times is far outweighed by the novelty of the whole scenario. Quibbles are easy to put to one side.

The cavalry distinction is important. Cavalry would be armed with carbines and sabres. Mounted infantry have rifles and dismount in order to fight. This subtlety plays a part in the outcome.

A series of small skirmishes heightens tension within the film until the exciting finale, when there is a fantastic, large scale, cav ... mounted infantry charge which got my pulse racing. You'll recall something similar in David Lean's "Lawrence of Arabia". This set piece is bigger. Johnny Turk was the villain that time too.

This being an Australian Imperial Force meets the British Army sort of film, there is bound to be a little Pommy-bashing going 'round. When I lived briefly in Australia a decade ago, I found Pommy-bashing to be the single unattractive facet to the Australian national character. (The Kiwis don't do it. We like Poms here too. Pity the Dominions can't agree on that one.) So while some of the Poms in this film might be a few sheep short of a paddock, still there *is* balance, with one Pom who is much cleverer than the average. Bashing even works its way into the plot, a nice touch that.

The film does not use an excessive amount of Strine lingo -- billy, tucker -- so very little acclimatization is necessary for the uninitiated.

I can't vouch for the overall authenticity of this film. But I did notice that campaign map in the Turkish commander's office. It's labelled in Arabic only. Egypt is identified as "Misr". Geez, that is the correct Arabic name. And the Ottomans were still using the Arabic alphabet at the time. (It's Atatürk after the war who switched Turkish over to the Roman alphabet.) The thing's fair dinkum, mate. If they cared enough to get details like that right, then I'm sure that says a lot about the effort put into the film as a whole.

There is an earlier Australian film about the Light Horse I'd like to see, "Forty Thousand Horsemen" from 1940 or '41 (sources differ). Finding a copy of that film in this hemisphere though would be extraordinary, a bit like finding a North American who likes Vegemite.

This movie also has to go on my "desert island" list. What most people will say is that the first hour is about as exciting as watching paint dry, which is true to a point. But wars are often played like chess, and if you don't know the board you'll never understand the game. It's therefore necessary, though somewhat tedious, to show the situation, terrain, weather, and overall political climate to get to the historical charge. The Germans are played perhaps a little too stiffly, and the one Aussie who couldn't shoot a human and became a medic was perhaps given a little too much screen time. As for the charge itself, you can hear your heart beating faster as you literally smell the sweat from the horses. The two-mile charge against an entrenched enemy supported with machine gun, razor wire, and cannon is intense beyond words, and stands as some of the most awesome cinematography I've ever seen. Actual casualty stats are listed, which are surprisingly low. As for how the horses were handled, not one was injured-a feat you'll scarcely believe after having seen the charge. The Lighthorsemen, unlike Gallipoli, is well worth a look. -Chuck

This is a story about some episode British-Turk campaign in Palestine in 1917. Very important role in this campaign was played by Australian forces. The key to conquer the Holy Land is city of Gaza. British general wants however to throw his forces to bypass the city and capture another one - Beersheba. To take them both it is necessary to keep his plan secret.

As a person who is interested in all WWI history I was waiting for this movie. I find it very good. All equipment seems to be very accurate, however, I've never heard about use of tanks in this front. There is a nice scene of air attack by German biplane, cars from that times, uniforms, and so on -- it all seems to be historical correct. The final charge is worth waiting for. I think that anyone who is interested in this campaign would be satisfied.

Because of Australian point of view the role of British army seems to be a little underrated. I especially mean British commander -- general Allenby. I think it would be good to say at the very end that after capturing Beersheba, Gaza fell as well a week later, and the road to Jerusalem was opened. This was what was lacking for me.

Despite the ubiquitous appearance by Sigrid Thorton, and my having to eat crow over my previous comments on Anthony Andrew's acting ability (no scenery chewing or hamming it up here), I very much enjoyed this outstanding Aussie film.

Simon Wincer has directed a wide variety of films, some bad (like the Cheryl Ladd waste of celluloid "Bluegrass" and the turkey "Pharlap") and some very good (like the intense "Harlequin" and the great A&E mini "PT Barnum"). I find this one to be particularly special due to it containing one of the best war sequences on film.

Wincer and his crew have excellently interwoven a beautifully done drama with incredible special effects. The battle sequence at the end if the film is so powerful that even seen on video on an average size home TV it is astounding. Not only is the Lighthorsemen's assault wonderfully choreographed, but the reaction shots of the cast are well performed. You can see the private struggles going on in the face of the big one.

This is not a movie for the faint of heart nor should it be dismissed as just another war movie by those a little leery of the genre.