ज़ुलु

ZULU steers away from making one side good and one side bad. Okay, we identify with the British troops in the face of insurmountable odds and all that - but you have to admire the ZULU warriors all the more for going up against them unfalteringly and the 'pan' across their fallen bodies isn't so much a moment of joy for the Brits saying "Ha, look how many we've killed of you lot" as opposed to clearly showing what an awful waste of life it all actually was.

The film clearly marks out why the British Army was as good as it was. Organisation. Okay, we got butchered a couple of times, but when placed in a position with time to ready ourselves the British forces where pretty unbeatable. One of the huge advantages being the fact that often we were going up against quite primitive 'warriors' with even more primitive weapons. The whole staying smart, obeying orders and keeping in line, firing in order helped to saved all those mens lives and is a neatly condensed show of arms to everybody out there. Each setpiece of British organisation re-inforces just how good they were, just how well they were drilled and just how murderous they could be with their efforts.

The film clearly marks out why the ZULU forces wasn't quite so good. It wasn't a lack of courage or absence of valour, it was simply down to the fact that they were outclassed weapon and organisation wise. Okay, they made pretty well organised charges and all that, but against rifles that's just cannon fodder. But as is pointed out by the Dutch guy, they're merely counting your guns. The ZULU's in the film aren't daft guys in furry underpants, they're the bravest warriors ever seen (or ever likely to be seen). Well organised forces wilted in the face of British troops during that period, they didn't. The fact they salute the British and walk away merely adds to their nobility and patheticises the British efforts - eventually they would have crumbled, the British would have lost against such odds if the Zulus had pressed all at once. They didn't. They walked away saluting the British effort. That moment alone, with Caine blazing about how they're being taunted and the Dutch guy chuckling to himself struggling to believe what is actually taking place is the icing on the cake of the gradually increasing tension.

For a moment of absolute spine tingling tension you can't beat the ZULU singing being countered by the Welsh Choir of voices. It's an equaliser as such, a moment of contrast and compare between the rigid red suited Brits and the tribal shield clapping chanting.

John Barry's music is a constant presence and always perfectly suited to the moment, I'd be interested to know the content of the ZULU chants though, whether they are authentic (which I figure they are) or simply picked out by the director for looking the most intimidating.

Top film, no insult to anybody.

It is only natural I suppose for an avowed socialist such as Stanley Baker to have formed a professional bond with two of Hollywood's blacklisted liberals. Some of Baker's best work is for Joseph Losey while 'Zulu' is the finest and most commercially successful of his collaborations with Cy Endfield.

Adapted by John Prebble from his own article, it is shot on location amidst the grandeur of the Drakensberg Mountains in glorious Technirama 70mm by Stephen Dade, has one of John Barry's strongest scores, excellent editing by John Jympson, especially in the battle sequences and boasts a strong cast.

Stanley Baker gives his customarily earthy, no-nonsense performance as Chard whilst Michael Caine in his breakthrough role as Bromhead has ironically been obliged to disguise his cockney roots and has never been quite as effete. Caine was originally considered for the part of Private Hook which went to James Booth whose performance ranks as his finest filmic hour. The requirements of film have dictated that Hook be portrayed as a thief and drunkard whereas in reality he was by all accounts a model soldier. Marvellous support from the imposing Nigel Green as Colour-Sergeant Bourne although the original Bourne was a mere 5' 3''. Patrick Magee impresses as Surgeon Reynolds whilst the superlative Jack Hawkins steals his scenes as the missionary Witt(wisely eschewing a Swedish accent)

Since the film was released there has been a seismic historical shift and nations have been forced to come to terms with their colonial past. One observer has noted that this is essentially 'a cavalry Western in which white men kill indigenous people in order to steal their land and are deemed heroic for doing so.' Empire-making has become synonymous with ethnic-cleansing.

Despite is dramatic licence, glaring inaccuracies and ideological flaws this film is a well-constructed, stirring, Kiplingesque tale of derring-do and individual bravery that has deservedly remained a perennial favourite.

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In January 1879, about 100 British soldiers are forced to hold the small outpost of Rorke's Drift in South Africa's Natal province against about four thousand attacking Zulu warriors.

Based on a true story, this is one of the greatest war movies ever made. The film quickly sketches the personalities of the main characters, and when the action starts it quickly moves into high gear. It successfully mixes tension and action in a way that few war movies have yet matched.

The performances are great, particularly co-producer Stanley Baker as the hard-as-nails Lieutenant Chard who assumes command on the strength of his seniority, and Michael Caine, in his first major starring role, as the aristocratic Lieutenant Bromhead, who comes into conflict with Chard.

Refreshingly, the film is respectful in it's portrayal of the Zulus as honourable and dignified warriors.

The script features plenty of memorable dialogue and a decent amount of humour. It also features some stirring music from John Barry.

22nd January 1879, Rorke's Drift. Natal Province. On that day an epic battle was fought between 4000 Zulu warriors and approx. 100 British soldiers.

Now I have noticed many of our American cousins have made remarks in their reviews of Zulu, to the effect that the soldiers were nasty-pasty British Empire builders and that they all deserved to choke on their own vomit, however the film does not try to justify the Zulu War or it's origins so I will not either, suffice it to say that you shouldn't be expressing assumptions and opinions on nineteenth century political attitudes with such an obvious twenty-first century viewpoint. They are two very different worlds which cannot be compared.

This film is beautifully shot and scripted, and the the John Barry musical score keeps the battle scenes moving well. It seems to makes the sometimes long periods of heavy fighting pass by quicker. Barry took authentic Zulu songs and chants and added the dramatic score around them to make an original and haunting theme which still ranks as one of his greatest film score offerings.

Stanley Baker is fantastic as Lt. Chard, the Royal Engineer who is able to use his skill in successfully fortifying the little hospital outpost against the onslaught of the foe.

Micheal Caine plays Lt. Bromhead the professional line soldier and upper class officer who after a little whining and grumbling accepts his position of second in command and fights valiantly in the battle. It was this film that propelled Caine to international stardom, so powerful was his performance.

Other noted cast members include James Booth as an excellent but inaccurate Hook, and Nigel Green as Colour-Sergeant Frank Bourne the typical Victorian Sergeant-major complete with side whiskers and moustache.

The Great Jack Hawkins who did not like the character he played or his work on the film, portrayed Otto Witt, the pacifist missionary with a drink problem and again it is another performance worthy of an award. It was upsetting however to hear in his voice, his wonderfully clipped speaking voice, the early effects of the throat cancer which had by this time plagued him for three years and which was eventually to lead to his death.

Also special mention to Richard Burton, who narrated the whole show. He truly had one of the best dramatic voices in the world and speaks his lines beautifully.

It was also good to see the Zulu's portrayed with dignity and honour rather than just mere savages with bones through their noses. They were a brave and strong opponent that day and they are deserving of tribute as much as the British.

The basis of this film is taken from historical fact, although certain characters and events have either been altered, erased or just plain fabricated for dramatic purposes. I hope that should any producers in the future be foolish enough to attempt a remake of this classic epic, they will put historical accuracy first and Hollywood sensationalism second if at all.

Enough has been said by others regarding the blatant slander of Private Henry Hook, so I will not elaborate on it, save that it was a gross slur on the bravest of men. I hope should the film ever be remade his honour will be restored and his gallant deeds on that day be portrayed accurately.

To quash further popular myths none of the film is shot on the exact spot at which the battle took place, (the real Rorke's Drift was in fact about 60 miles from the location shoot.)

The regiment in question did not become the South Wales Borderers until two years after the battle and was at the time a Warwickshire Regiment. They were however based in Brecon which is where the Welsh connection was born and would explain why there was a higher amount of Welsh nationals attached to it.

Despite this the regiment consisted mainly of Englishmen and only about 12 percent were in fact from Wales. With these demographics being how they are I can assure you, "Men of Harlech" would not have been sung at Rorke's Drift, (at least not without the culprit being bayoneted by an Englishman with ear-ache.)

Lt. Chard himself was an Englishman having been born in Plymouth into an established and respected Somerset family. This being the case, I find it funny that although Stanley Baker never refers to Chard as a Welshman, he none the less seems to revel in promoting Welsh pride at ever opportunity. Of the eleven V.C's won in the battle, only three of them were awarded to Welshman so why the big Welsh message Boyo?

Also the final salute made by the Zulu's did not occur. When they re-appeared on the hill they returned with the sole intention of finishing off the gallant soldiers at the outpost, but decided against it when they noticed a sizable relief column approaching Rorke's Drift from the south.

Finally, a few people have made references to Colour-Sergeant Frank Bourne, wondering whether or not he really existed and if so why he was never awarded the V.C. for his conduct on the day. Yes, he really existed and yes, he did fight at Rorke's Drift. He was in fact recommended for a Victoria Cross, but told the powers that be that he would rather have a promotion instead. This he was given along with a D.C.M and an O.B.E. He was the last surviving veteran of Rorke's Drift when he died on V.E. Day 8th May 1945 aged 91 and with a rank of Lt. Col.

For more historic information about The Battle of Rorke's Drift and it's combatants, I recommend you visit www.rorkesdriftvc.com.

A stirring, inspiring film about ordinary British soldiers, caught off-guard and forced to fight for their lives.

During the Victorian period, discipline within the British Army was at its very peak, and the Officers were well versed in standard military manoeuvres. However, Lord Chelmsford, leading the colony out of ISLANDWANA, effectively sealed the fate of the 1000 or so Soldiers encamped on the slopes of the mountain at Islandwana, and in turn forced the Mission station at Rourkes Drift into a seemingly impossible situation; Beat off the attack.

Luckily, Lt John Chard of the Royal Engineers had been assigned to Rourkes Drift to "Build a Bridge", thus saving him from massacre and lending his wisdom and sharp military mind to the ragged bunch of soldiers at the station.

Lt Gonville Bromhead, superbly played by Michael Caine, epitomised the "Military Families" that had been commanding regiments for Decades during the 18th and 19th Centuries.

The film speaks for itself, culminating in the final, mesmerising, breath-taking, desperate battle to hold fast against a disciplined attack from the ZULU impi.

Strangely, the film makes no mention of Cetsewayo's order that no force should attack any entrenched British position. The Rourkes Drift attack was spearheaded by one of his headstrong sons, eager to prove his courage and leadership skills to his respected warrior father.

With narration from none other than Richard Burton, stirring music, the pre-battle singing at dawn, and the three level firing lines on a "mealy-bag" redoubt, you can't do better than "ZULU".