La charge du 7ème lanciers

Victor Mature was always fond of telling people how bored he was in the acting profession and pretty soon he'd be out of it for the most part. He was at his most bored making The Bandit Of Zhobe an Indian Northwestern set on the real Indian frontier. He sleepwalks through this part, probably worried his paycheck wouldn't clear.

Back in the day tales of the British army defending those outer reaches of the Empire on which the sun never set were as popular with British kids as the dime novels written about the exploits of our frontier characters out west. The Bandit Of Zhobe plays like one of those westerns.

The evil Walter Gotell wants to get the frontier ablaze and what better way to do it than get the British army fighting with a neighboring native leader. Gotell has his guys attacking the British army and also has his guys in British army Sepoy uniforms go into Mature's town and massacre the place, killing his wife and child. I've seen this plot premise in many of our own westerns.

Taking on the task of bringing everyone together is Anne Aubrey, daughter of British Colonel Norman Wooland. A little bit of Rudolph Valentino's The Sheik is thrown in here with Aubrey's obvious attraction for Mature even though he's been doing terrible things to her people after he's been set on the warpath.

Best in the film without a doubt is Anthony Newley as the corporal and bodyguard of Aubrey. He proves to be quite resourceful and has the best lines the script. The final battle between Gotell's people and the British army is also well staged.

But we've seen all of it before in many an American western.

Surprisingly enough, this proved to be a totally routine desert adventure from many of the same people behind ZARAK (1956), of which THE BANDIT OF ZHOBE is only a pale shadow; while no classic in itself, the inherent campiness of the earlier film rendered it irresistible – but that has been replaced here by relentless dullness (the extremely faded print I watched certainly did not help matters)! Victor Mature once again makes for a wooden (and, having had his family murdered, humorless) lead; incidentally, the narrative spends more time with the obligatory young couple (Anthony Newley[!] and Anne Aubrey) – though Norman Wooland more or less serves the same function that Michael Wilding did in ZARAK. The writer-director of this one had actually written the latter and would return again to this milieu for Hammer's THE BRIGAND OF KANDAHAR (1965; which I may be watching soon at the same venue which hosted the screening of THE BANDIT OF ZHOBE itself). Incidentally, I have also just acquired KILLERS OF KILIMANJARO (1959), yet another Warwick production centering around a fading Hollywood star (Robert Taylor) – but also featuring the aforementioned Newley and Aubrey. Anyway, to get back to the film at hand: at a trim 80 minutes, I suppose it makes for passable unassuming entertainment but is also utterly forgettable; for the record, it does climax in a lengthy (and reasonably exciting) skirmish…even if the low-budget involved meant that the same sets as ZARAK would have to be used (and probably some of its action footage as well)! As usual with this company, reading the credits I could not help but notice how producer Albert R. Broccoli, story writer Richard Maibaum and cinematographer Ted Moore would be far more inspired when they set out to make the initial James Bond extravaganzas a mere 3 years later (by the way, a regular of that series, Walter Gotell, is the chief villain here who mortally wounds Mature at the finale but is himself despatched by the now understanding Wooland). For what it is worth, the biggest laugh this film got from the five-man audience who were watching it (myself included, of course) was when a heavy-set Indian henchman spat out what seemed like a bucketful of saliva at the British and clumsy soldier Anthony Newley almost slips in it!!

one of many films about India under British occupation, fights, exoticism, wise young women and noble bandits. part of a trend of period, it gives nothing original. but its naivety is a real virtue for nostalgic and for rediscover ignored actors. the mixture of politic and romance, few drops of humor and battle scenes are always an inspired choice. The Bandit of Zhobe is not an exception. but it has the virtue to seems be different for the science of Victor Mature to save his character. far to be complex, Kasim is more than a shadow. not so predictable, full of virtues who defines the good savage, his fight, his error, his delicacy and spirit of honor are ingredients for a decent story. and this does The Bandit of Zhobe naive. but , in special way, seductive.

A bandit with a price on his head, is seen this time blind for revenge. He thinks that the British have massacred his people, his family, his wife and child. But he is wrong. Only the little romantic daughter of his enemy, overflowing with pity for him, could open his eyes to the truth.

The story and situations are similar to Zarak, the previous Victor Mature Northwest frontier romp, and I must say this 1959 film starring Victor Nature, Anthony Newley and Anne Aubrey is much better - I found Zarak slow and dull in parts, whereas the Bandit of Zhobe isn't dull, has a niftier pace, gets straight to the meat of the matter rather than meandering, has some exciting action sequences, and Victor Mature is great in his role. The man can make anything watchable. Anne Aubrey is good as the major's daughter who is a pacifist and sympathises with Mature. The only thing is that it lacks nuance or a sharper script to give it an edge over the routine story. Possibly more mystery/investigation into the plot of the villain (Walter Gottell) would have been good, but as it is an entertaining film.

The film could be called Zarak II as the plot is very similar to the original, and our hunted hero, a bandit with a price on his head, is seen this time blind for revenge...

He thinks that the British have massacred his people, his family, his wife and child... But he is wrong.

Only the little romantic daughter of his enemy, overflowing with pity for him, could open his eyes to the truth... She told him one day: 'Do not trust the smiling face of the moon, it has a darker sight.'

The loose and ambiguous script of "Bandit of Zhobe" seems to ramble, and the direction of John Gilling merely underscores the generally unconvincing proceedings... Mature did however have opportunity to sport turbans and colorful Indian garments...