User reviews

Hammer Film returned to India (at Elstree Studios) with this production, but this time the project lacked the punch "The Stranglers of Bombay" (1959) had. It is a moral tale about ethnic pride, patriotism, military honor and love, but surprisingly it lacks passion. While John Gilling handled the story with vivid action scenes, as he did in previous adventure films he made for Hammer, his rather literate script proved too ambitious to be fully developed in 78 minutes. The previous Hammer attempt to describe India under British rule was a darker story by American scriptwriter David Zelag Goodman, dealing with evil followers of goddess Khali, but in this occasion Gilling directly entered the political field and added an adultery subplot with passable results. On the acting side, while Ronald Lewis is at his usual adequate efficiency level as hero, Oliver Reed is bland and noisy in the role of a ruthless rebel chief, easily overshadowed by Yvonne Romain as his wicked sister. (As she had left for Hollywood to work with Samuel Fuller, beautiful "Stranglers" actress Marie Devereux is sorely missed here). Gilling would turn out his best works for Hammer a year later, when the remarkable "The Plague of the Zombies" and "The Reptile" were released.

Even those with a fondness for those "Northwest Frontier" movies set in the British Raj of the 1800's will probably be disappointed by this minor, unpersuasive, and somewhat uncharacteristic entry from Hammer Films. The costumes have that clean, new look -- as if they just came from a rental shop -- and the handful of sets are too tidy and well-lit to be anything other than studio creations. Even the rocks have a fiberglass look.

More troubling than the film's skimpy budget, however, is the casting of its main character. He's supposed to be half-English, half-Indian -- one of those chaps who's worked his way up in the ranks of the British Army but who feels he's still regarded with hostility and suspicion by his colleagues. Not only does Ronald Lewis lack the face for this part, (there's nothing at all Indian about him), but he's also short of the darkly-compelling charisma which might make this character "work." He comes across as a provincial English actor who's dressed up in left-over garb from a production of "Kismet." In his defense, however, it must be said that the script gives him little to work with since his character is poorly developed and too often seems simply like the victim of events going on around him.

Oliver Reed might have been a better choice for the lead but here he plays the villain -- a rebellious chieftain who's said to be "half-mad." Unfortunately, this gives him license to indulge in some theatrical behavior which is more embarrassing than enlivening.

At one point a captured British soldier is whipped by the rebels but even this sure-fire scene is too poorly staged to arouse much interest. (Why didn't the rebels tear the soldier's shirt all the way off? Didn't they take Flogging 101?)

An interesting little Hammer offering story wise. You'd think the red coats of the British Army would be the heroes of this Raj story set in 1850. But as it turns out in a welcome twist, they're more the villains, doing the colonial nasty on the local tribespeople, made up generally of black-faced English actors.

Had to laugh at the indignant shock of a couple of reviewers here expressing amazement that more Indians didn't feature in the cast. This is a Hammer production made in around 1964/65 and as such was made on the smell of an oily rag in England. For goodness sake, check out those vintage painted back drops of the castle in the mountains. There is absolutely no Indian location footage and in fact, footage was "borrowed" from a couple of other films to round out the battle scenes. Before we get all lathered up about the casting in a 55 year old "B" grade supporting feature, let's also remember that a bare 3 years before, it was perfectly acceptable for Alec Guinness to play an Arab in Lawrence of Arabia. In fact a couple of years after this, Lawrence Olivier played the Mahdi in Khartoum with little criticism.

As mentioned the only really stand-out feature of this film was the anti-colonial perspective of the British Raj. The villains of the piece were the senior British Officers who fitted up a fellow officer Case for a court-martial, because besides supposedly having "a touch of the tar brush", he had also had an affair with another officer's wife. He ends up running with the local rebel alliance, though their leader, Eli Khan (an hilariously black-faced Oliver Reed), is also depicted as being somewhat cruel and untrustworthy.

It all ends up in a gloriously romantic tragedy of near -Shakespearean proportions, as bodies litter a paper-mache cave hideout and accusing fingers are afterwards pointing in the British establishment direction. Cue the casting credits for this little oddity. I'm sure the production only ever had pretensions to being a support feature, but I give it a 5 for trying something a little different with the story line.

After watching TBoK for some thirty minutes, this started to remind me of a Hammer film, my having missed the reference to Hammer in the opening credits.

Other reviewers have noted its shortcomings, such as uniforms that would not have kept their brightness for very long, artificial-looking studio sets and Ronald Lewis's unremarkable performance - certainly he's no Tyrone Power, who played a similar role - of a mixed-race officer - in "King of the Khyber Rifles".

To which might be added: easily-reloadable rifles used by both sides that were not produced in 1850 and the risible scenes of key characters bouncing along, ostensibly on horses, against back projection as they led their men into battle.

The English countryside served well enough for India for most, if not all, of the film, and, dare I say it in 2022, so did the blacked-up "Indians".

At least the ending was a bit of a surprise, not least because of the hundreds of men that suddenly appeared in a film that up to then had only featured a score or so at any one time. Now I know that scenes were lifted from "Zarak", I plan to watch that film to see how many.

Worth a little more than the 5.4 average rating. I thought.

Had too stop watching this movie as it's set in India, but contains no Indian actors or actresses. What a disgrace!

While Hammer Studios produced some fairly able historical adventures in the early 1960s - titles such as the serviceable FURY AT SMUGGLER'S BAY and THE DEVIL-SHIP PIRATES - they also made their fair share of stinkers, of which THE BRIGAND OF KANDAHAR is probably the worst. This is an entirely stodgy costume adventure, made on a low budget and with a script which feels like it was rushed out in a hurry.

The story is cheap and carries some distinctly colonial racial overtones, not least in the presence of anti-hero Ronald Lewis, blacked-up as a half-caste for his role. Lewis must be the singular most obnoxious heroic character in a Hammer film, a guy who I actually despised throughout much of the running time; were we really supposed to feel sorry for him after he swapped allegiances like that?

Elsewhere, it's sub-ZULU antics throughout, enlivened by a handful of larger-scale battle sequences which employ some dodgy back projection which saps them of realism. Once again Hammer has an eye for a distinguished supporting cast, but most of them are wasted here; the only ones who come out of it well are Duncan Lamont and Katherine Woodville. Oliver Reed is cast as the bad guy but I feel he would have made a much more compelling protagonist. In any case, this is as dull as dishwater and one of Hammer's weakest efforts.

Straight out of Rudyard Kipling's standard book of Raj adventures, this sees the disgraced "Lt. Case" (Ronald Lewis) dragooned from his regiment only to take up with their mountain-dwelling nemesis "Eli Khan" (Oliver Reed) swearing vengeance on the colonel (Duncan Lamont) who was responsible for his harsh treatment. The arrival of journalist "Marriot" (Glen Houston) upsets not just the army's applecart a little, but also sends a man high up into the mountains in whom the former soldier can confide. It's also becoming quite clear that though there's a degree of working trust between the khan and the deserter, it's highly likely that "Case" hasn't completely abandoned his loyalties to Queen and Country - and his boss suspects as much, too. Reed isn't really a natural here bedecked in his flowing garb, but there are still quite an entertaining series of flag-waving escapades with plenty of gunfire and menace amidst the polystyrene rocks and industrial scale cheese plants. Yvonne Romain pops up now and again as the selfish "Ratina" and does her best Caroline Munro impersonation, but luckily that element doesn't clog up the boy's own elements of derring-do with sharp knives. Nope, you will never remember it, but I like the genre and this is perfectly watchable.

This is an extremely curious film from Hammer.They did look to diversify from their Hammer horrors and this is one of the results.The plot seems quite strange and very muddled.What is more it is difficult to take seriously.Normally in an adventure film you know which side to support.However in this film it is difficult to know who is worse.The Army comes out of it just as badly as the warring tribes.Also here we have a film as late as 1967 where it was thought not to be a problem having a white European actor putting on make up to play an Asian character.The plot revolves around the fact that Lewis is discharged from the army and imprisoned on very circumstantial evidence and racial prejudice.I have to say that "Carry On Up The Khyber" is a far better film and a lot more fun too.

I generally enjoy Hammer Films foray into historical adventure but this is a weak entry and not one of John Gilling's best. Set in 1850's India at the height of the Empire this sees a mixed race British officer with conflicting loyalties help Oliver Reeds character Eli Khan, seen here hamming it up in his last Hammer film, as the bandit leading a revolt against colonial forces with plans to infiltrate the British at Fort Kandahar.

John Gilling was probably trying to offer something a little different and concoct an adventure story using the British Raj as a backdrop to explore issues of race, prejudice and colonialism which could have been an intriguing premise but gets hampered by a weak script, poor acting and a very low budget where certain action sequences are lifted from other movies, and clumsily used at that.

Nice costumes, a few jarring scenes and an unexpected ending makes it worth a watch but what could have been an interesting perspective becomes pedestrian and routine.

With the seven Hammer Films featuring then-rising young star Oliver Reed, sometimes there's a feeling they didn't quite know how great a thing they had... even in his very own titular horror, CURSE OF THE WEREWOLF, he doesn't appear until around forty-five-minutes (although the previous sequences are intensely entertaining)... and in THE PIRATES OF BLOOD RIVER, he dies way too soon...

Same thing happens here, since, as the leader of a band of holed-up Indian (from India) rebels who kidnap Ronald Lewis... playing a half-Caucasian/Indian treated unfairly by fellow British soldiers led by Duncan Lamont... Reed's not supposed to be the main star, billed second to Hammer's square-jawed SCREAM OF FEAR and STOP ME BEFORE I KILL Lewis...

But Oliver simply doesn't have enough zesty screen-time overall, intensely channeling Anthony Quinn's zesty Arab rogue in LAWRENCE OF ARABIA, and again cast with his WEREWOLF co-star Yvonne Romain, looking voluptuous and alluring as usual while, as Reed's jealous sister, she doesn't have much to do but stand around and brood, without even really trying to seduce the handsome half-caste leading man...

Leaving most of the romantic ingenue role to equally gorgeous Katherine Woodville (who had also co-starred with Reed, in THE PARTY'S OVER) since her affair with hero Lewis... who supposedly deliberately abandoned her doomed husband... provides equal worth with the most conveniently dull character in Glyn Houston's wartime journalist (himself channeling Arthur Kennedy from LAWRENCE OF ARABIA), acting so breezy and bland that he never seems in very much danger: a microcosm of how this entire 1850's-era war-adventure lacks tension (and purpose) throughout.

Now, in 2024, we often forget that the UK film industry gave us many adventure movies in the fifties and sixties, at the scale of many Hollywood films, with as much budget, actors, directing skills. It was during an era when UK still had many colonies around the world; it was the opposite to the social tendancies that this movie industry will show us during the same period. And which begun in the forties, just after WW2 and for instance London after the Blitz,, among ruins. The roots of the kitchen sink tradition of the British cinema. Now,, concerning this John Gilling's film, I was so amazed by the quality. I often counfound this film with BANDIT OF ZHOBE, same director, also an adventure film, but with Victor Mature instead of Ron Lewis. We have here the proof that director John Gilling was not only an excellent thriller and crime director and also a terrific horrorr provider - SHADOW OF THE CAT, PLAGUE OF THE ZOMBIES - but also a little genius in terms of adventure flicks: FURY AT SMUGGLER'S BAY, PIRATES OF BLOOD RIVER...Do not miss them because they are "just" British.