Ci rivedremo all'inferno

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.

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.

The first thing you notice about this film is the racist MPAA. Despite it being rated PG for war violence, there was nudity. Breasts were exposed, but they weren't those of Barbara Parkins ("Peyton Place", Valley of the Dolls, and her skintastic moment in Breakfast in Paris), but of African natives. Seems that black breasts are not taboo for children to see.

But, to the film itself. It is actually two films. The first half in 1912, has Lee Marvin (Cat Ballou, Paint Your Wagon) as a drunken ivory poacher who manages to get Roger Moore (The Spy Who Loved Me, "The Saint") to partner up with him. After Moore and Parkins (Marvin's daughter) plan to marry, there is a great fight scene reminiscent of many John Wayne pictures.

Then the film changes. World War I is declared and the Germans are on the march led by Reinhard Kolldehoff (Moon Over Parador, "The Winds of War"), a big fat German pig whose men slaughter Moore and Parkins baby, and set them on a search for revenge.

The film has plenty of action, including what I would call a paper mache bi-plane which almost takes Moore's life, and culminates in the blowing up of a German battleship that had run over Moore and Marvin earlier.

Marvin was extremely funny and Moore looked just great painted black to get on the ship. Parkins was radiant throughout, even when consumed with revenge for the murder of her baby.

Sir Ian Holm (Chariots of Fire) was also fantastic as Marvin's mute servant.

This guy seems to have been the most under-rated star in the Biz. His dry sense of humor combined with a subtle charisma made Lee Marvin one of the most likeable stars of the war movie genre. Here he played an older soldier, past his prime, that coaxes the younger Roger Moore into doing life-endangering things against the Germans. This is done with much humor, as Moore is in love with Marvin's daughter, and feels compelled out of family honor to do whatever he can. The action is really excellent, and the love story is touching. A must see for any war movie fan, and/or Moore fan. Marvin, himself, delivers another Marvin like performance, and reminds viewers of his earlier days from the film "The Dirty Dozen".