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Sweeping, exciting spectacle, though on a bit lesser scale than usual. Power is a mixed-race (half British/half Indian) British officer in India battling the British class system on one side, the Indian caste system on the other side, racism from both sides, and rampaging, rebellious natives on all sides. Although he lacked the dynamism and ebullient personality of fellow swashbuckler Errol Flynn, Power nevertheless handled these kinds of action roles well, and was a good enough actor to pull them off believably. Terry Moore is, as always, miscast--she has the sunny demeanor of a USC cheerleader rather than the demure, dignified charm one would expect of the daughter of a senior, upper-class British officer. Michael Rennie's lip is properly stiff as the British commander, and Guy Rolfe is thoroughly effective as Power's megalomaniacal, menacing half-brother who is the leader of the rebels. Several extremely well staged action scenes--particularly at the climax--some very tense moments, crisp and beautiful Technicolor photography and Power's not-inconsiderable presence and charm make this a must-see for adventure fans--if they can ever find the damn thing. As mentioned previously, it hardly ever shows up on television and it's not out--legitimately, at least--on video or DVD yet.

While offering many racist undercurrents in portraying imperialism and eastern characters, adventure movies have long satisfied a desire for escape, becoming one of the principal avenues for presenting views of foreign cultures (however warped) and distant lands to curious and receptive audiences. The genre is sufficiently flexible to allow for only a lukewarm endorsement of colonialism or questioning of its political effects, a tradition going back at least to 1928 and the notable production of WHITE SHADOWS OVER THE SOUTH SEAS. However, this theme only became established after World War II, as films began to reflect the crumbling of western empires in Africa and Asia and recognition grew of the pernicious effects of imperialism and its attendant racism. The first major film signpost of these changes was KING OF THE KHYBER RIFLES (1953), set in the Sepoy Mutiny of 1857, a conflict that had rarely been treated in films up to that time. The story centers on a character of Eurasian ancestry, Captain Alan King (Tyrone Power), who falls in love with an English girl, Susan (Terry Moore), the daughter of the outpost's commander, General Maitland (Michael Rennie)--providing an opportunity for exploring racial attitudes in a colonial setting. Focusing on a relationship between a half-caste and a white girl was, in the early 1950s, an original cinematic theme, and KING OF THE KHYBER RIFLES was unique for presenting it in adventure.

KING OF THE KHYBER RIFLES explores King's personal difficulties as he tries to find his own social position, living in uneasy suspension between the world of the native and the foreign sahibs, torn between them; only the adventurous experience can resolve his status. Prejudice against King emerges because of his parentage; fellow officers refuse to be billeted in the same quarters, and he is conspicuously not invited to the queen's birthday ball. The stress is not simply on his courage but more on the numerous challenges he must face in daily living. A social outcast at the fort, King is most secure in the home of his adopted father, Hamid Bahra, a Moslem holy man; the picture was originally to end with King returning to Bahra before joining Susan. KING OF THE KHYBER RIFLES has a lone hero and none of the emphasis on military camaraderie, or the careless, Boys' Own tone to be found in such films as GUNGA DIN. Authentic details of Indian atmosphere convey a sense of accuracy, such as the rumors that the cartridges for the new Enfield rifles are greased with pig's fat, simultaneously offending Moslem and Hindu alike. King must use his unique appeal as a fellow native to lead the Khyber Rifles in an attack on Khan's encampment. At the last moment, King's men resolve not to use the rifles but offer to follow him using their knives. The imperial conflict is between men who are sons of India, whether Kurram Khan and his followers or King and the Khyber Rifles. Yet KING OF THE KHYBER RIFLES ultimately evades the question of the desire for Indian independence, through depicting Kurram Khan's leadership as far more ruthless and dictatorial than British rule. King is in a unique position; his half-caste status, negotiating between British and Indian with a knowledge of both, enables a British victory, establishing not just his equality within the fort but also his eligibility to marry Susan. The British outpost offers the hero the only world where his merits can win recognition, partaking of both sides of his ancestry by following in his father's military footsteps. King's birthplace and home are India, not England, and though he may serve the British, he does so for the distinction such duty may bring through association with a respected unit like the Khyber Rifles. King secures greater respect than is accorded to white officers like Maitland. While utilizing many of the incidents and motifs of THE LIVES OF A BENGAL LANCER, THE CHARGE OF THE LIGHT BRIGADE, GUNGA DIN, and other such movies, KING OF THE KHYBER RIFLES also sums them up, providing both a commentary and a decisive new turn. KING OF THE KHYBER RIFLES brings Indians to the forefront, honoring the native traditions while still treating heroes and villains according to standardized genre patterns. While clearly an adventure of colonial India in the classical mode, KING OF THE KHYBER RIFLES represents a fundamental shift to an awareness of its own conventions, allowing the film to be watched today more easily than many other adventures of a similar vintage. KING OF THE KHYBER RIFLES was the fourth picture shot in Twentieth Century-Fox's new widescreen process, CinemaScope, and it was widely acclaimed as the the first picture whose action fully justified use of the anamorphic lens. Fox's directing "King" was assigned to it: Henry King, a sixty-seven year old veteran whose career stretched back to the teens, and was a personal favorite of Zanuck as well as a close friend of leading star Tyrone Power. Power, tired of playing action roles, disliked KING OF THE KHYBER RIFLES, and by then was more interested in unusual, challenging character roles. Unfortunately, Zanuck wanted to use Terry Moore, who was already under contract, as the leading lady, a role she sought assiduously despite being completely miscast in the part. Zanuck was enthusiastic about shooting KING OF THE KHYBER RIFLES in Lone Pine, and Henry King agreed that a location trip to India was unnecessary, and the California locale substituted so well that many reviewers believed that at least portions of the picture had been shot in India. Producer Frank Rosenberg selected Bernard Herrmann to write the score, hoping for and receiving something more exotic and less intrusive than the type of martial music Alfred Newman had written for previous Henry King-Tyrone Power adventure films at Fox. KING OF THE KHYBER RIFLES was widely touted as Fox's Christmas release, becoming a box-office hit, and it is still popular on television.

Based on Talbot Mundy's best and most famous novel, which unfortunately I was an expert on, this film was a total disappointment, in spite of its great assets of mainly stupendous mountain scenery and Bernard Herrmann's music. But the mountain scenery was nothing at all about the famous Khyber pass but all shot in California, and above all, the splendid story of Talbot Mundy's secret agent thriller of jihadism and the cutting of heads even 160 years ago by taliban rebels and with a dancing queen of beauty at the centre of intrigue, also involving some archaeology and reminiscenses of Alexander the Great's famous visit to Afghanistan, was reduced to a cheap and petty pulp fiction of the commonest of Hollywood clichés. The acting is not very good either. The only one making a strong impression by his stage presence and acting is Guy Rolfe as the villain, the rebel king, while supporting parts, such as John Justin and Michael Rennie, also make a good job, while Terry Moore is a complete disaster. However could Tyrone Power fall in love with such a nuisance of a bobby-soxer? It's as far from credible as anything could be. Tyrone Power is himself, and that's enough for him - with such a face he never even needed to act.

A great pity for a great story to be so poorly handled and reduced to mere superficial entertainment. Talbot Mundy was a theosophist and mystic who wrote many books, and this one could have been made into as great a Kipling epic as "The Man who Wanted to be King".

Previously filmed by John Ford in 1929 with Victor McLaglen as 'The Black Watch'. This handsome-looking Empire film set in 1857 is actually a far more sombre, character-driven film than the swashbuckler the title suggests - with an atmospheric score by Bernard Herrmann - in which Tyrone Power's swarthy complexion here sees him play a haste caste romancing a pert young Terry Moore playing the daughter of General Michael Rennie and caught between the Regiment and a very saturnine Guy Rolfe as his brother.

This film is an excellent adventure film. Tyrone Power was a good actor - always entertaining and full of charm. Sadly this film is NEVER shown on TV and is not available on video - this is nothing short of being a scandal!!! Although this is not Power at his best, it is worth seeing, and certainly worthy of a place in my video collection. Smarten up 20th Century Fox and find this film before it decays to dust - or has this happened already?