Il lungo duello

Watching The Long Duel put me in mind of the story of Joaquin Murietta from early American California days. At least it seemed that way to me as this story of the Himalayan frontier of India plays a lot like an American western.

Harry Andrews as the John Bull commander of a Himalayan outpost in the British Raj arrests an entire tribe for some specious allegations of poaching. Yul Brynner as tribal chief is among the arrested, but they break out with one fatality.

After that Brynner and the able members of the tribe become brigands and popular heroes in India where the Congress Party is getting most demanding for India's independence post World War I. The provincial governor Laurence Naismith is acutely aware that Brynner and his tribe are becoming popular heroes. Possibly this story is post the Amritsar Massacre which galvanized the move toward independence.

The solution they come up with is to give Andrews a co-commander in Trevor Howard. Howard before his army service was an anthropologist and has studied Indian culture. He's also suspected of the unpardonable sin of 'going native'. But he may be the answer to the Raj's Brynner problem.

Brynner borrows a lot here from his earlier work in Taras Bulba playing the tribal chief. Howard cuts a sympathetic figure as a most unmilitary officer showing his range. A Captain Bligh he is not. He even gets a love interest in Charlotte Rampling playing Andrews's daughter.

I thought the climax was a bit on the unreal side involving both Brynner's son and Howard. More I will not say.

The Long Duel is an interesting saga of those last days of the British Raj though it plays like a western with real Indians.

UK film industry, before the late sixties, has always showed this tradition of adventure films related to the British colonies, nearly in every continent. It is in the British cinema DNA, I mean IT WAS. This film is a real good one, splendid picture. You also had Basil Dearden's KHARTOUM, one year earlier. I don't forget CHARGE OF THE LIGHT BRIGADE from director Tony Richardson, the most outrageous film ever made against the British establishment in colonies, showing the sumptuous parties from the British gentry, military high rank officers whilst poor soldiers are slaughtered on the battle ground...Yes, adventure films belonged, were a trademark, of the UK film industry, not only the Hollywood one, but I repeat, only, till the end of the sixties decade. The other fashion was the social, kitchen sink dramas; and of course comedies, war - which also finished in the late sixties - horror movies - thanks to Hammer films. Not westerns and a bit crime films, excellent ones. So, back to this one, the prestigious cast - Yul Brynner and Trevor Howard - helped to the success of the film, but the production design too. It is a must see in the genre, as was GUNS OF NAVARONNE. I prefer this one, because it was brave, daring from the British cinema to criticize its own colonialism system. Yul Brynner, the rebel, gets more empathy than Trevor Howard's character. One last thing, Harry Andrews has played in so many British movies of the fifties and sixties, even later, that when you did not see him in only one, you had the feeling he was dead.... Or in a very bad condition. Ha ha ha.

Brynner and his tribe are removed by the British (Andrews) for resettlement. He escapes and gathers other tribes together to take on the British.

A film of 2 halves. The first is baggy and messy with Brynner looking bored and uncomfortable and Howerd the only interesting character. It all picks up in the second half which is exciting and contains some strong battle scenes. A fair film but considering the cast and director, it should have been a lot better.

This has simply been unfairly misunderstood. It's a great romantic adventure story exposing conflicting mentalities in the last days of the Indian Raj, when some British already started to doubt their presence there. Harry Andrews is the hopeless imperialist who knows only one way to govern and that by force, while Trevor Howard tries the other way: dialogue and understanding. Yul Brynner is the freedom fighter with a just cause who knows he is right and struggles against opposition in his own camp to achieve it with tragic results, due to the hardcore inflexibility of the British military authorities (Harry Andrews). Charlotte Rampling plays an unusual part as a female diplomatic intermediary, and her character is the only one who is not quite convincing, which unfavourable impression is worsened by her horrible hair style - utterly impossible in India.

Additional merits of the film is the overwhelming sweeping landscape scenes catching the wilderness of the Himalayas, and the music, which underlines and augments the romantic character of the film. Yul Brynner is always interesting and makes memorable characters, and also Trevor Howard and Harry Andrews are well up to their ordinary excellent standard, while the story and its lesson of experience, wisdom and humanity is the main importance of this very underrated film.

THE LONG DUEL is a British adventure film about an Indian uprising in the 19th century presided over by a bandit leader played by the inimitable Yul Brynner. Watching it these days, it's clear that this is a very dated production, and perhaps the film was picked out for merciless spoofing in the excellent CARRY ON UP THE KHYBER.

However, it isn't a bad film, just not one of the best of the genre. It suffers from being overlong and too slow, with long scenes that drag out between the important bits. Still, the viewer is treated to the spectacle of Brynner doing his patented action man routine and Trevor Howard acting against him as the classic stiff-upper-lip Brit with a heart. Supporting actors include Harry Andrews as the idiot in charge, more minor roles for Hammer players including Andrew Keir, George Pastell, and the lovely Imogen Hassall, and the appearance of a surprisingly young Charlotte Rampling.

The action elements of the film are handled pretty well with the usual excitement. A set-piece attack on a train is a highlight here, as is the fiery ambush on the British barracks, but the film only really kicks into top gear at the excellent large-scale climax. Moments of occasional heart and poignancy make this worth a watch, meanwhile.