'It is wrong to try to avoid the struggle against imperialism under the pretext that independence and Revolution are important, but that peace is still more precious' Kim il Sung
A spirited, patriotic, production imbued with an idyllic representation of the benevolence of British rule, released at a time when the Empire faced the dual threats of increasing nationalist resistance and the rise of fascism. As part of the defence of British and imperial values, the Korda brothers would produce a series of unashamedly propagandist features to highlight the merits of British colonialism. Ironically, the director of many of these productions, Zoltan Korda, would often clash with his brother over such material, given his own cherished liberal and socialist ideals. This film is based on a novel published just twelve months earlier by AEW Mason, to whom the Korda brothers would return the following year for a film adaptation of his most famous story, 'The Four Feathers'. The eponymous instrument in this production will augur the fall of imperial rule over the fictional principality of Tokot, with the marking of the massacre of British troops invited to a banquet held supposedly in their honour by the local treacherous khan. Tokot is notionally set in an area of historical unrest on the northern borders of the 'Jewel of the Imperial Crown', and one of the film's biggest draws is the glorious Technicolor cinematography used to full effect in capturing the majestic landscape of the North-West Frontier – Snowdonia in reality. This film also marks the second appearance of Sabu, and though written as a vehicle for this newly acquired teenage star and creating a wave of rave reviews in Hollywood, his performance suffers slightly due to his lack of sufficient screen time. His being cast as the young prince has a real touch of irony in that prior to being discovered he had followed in his father's footsteps as the ward to the Royal elephant stables to a local maharajah. The plot has our young prince, and true heir to the throne of Tokot, forced to flee his lands and assume the identity of a mere beggar boy on the streets of the Raj, after his uncle's usurping of his murdered father's title. In exile, the impressionable teenager seeks to warn his father's benign and paternalistic British masters of the threat his uncle poses to their continued rule. The stoic Ronald Livesey in the role of Captain Carruthers, though a consummate actor, is far from convincing as a dashing action hero. Yet, he is ably supported by the graceful and unflappable presence of his wife, played competently by Valerie Hobson - qualities she herself would be required to display years later off-screen as the besieged partner of scandal-ridden politician John Profumo. Despite being penned by the creator of one of the hallmark yarns depicting imperial adventure, 'The Four Feathers', the plot of this adapted production fails to move beyond first gear. Moreover, this unashamed defence of Empire is reputed to have sparked nationalist riots in India. Yet, despite its lack of political correctness, the film remains a watchable and colourful spectacle due to the aforementioned photography, the rousing action finale – where the movie's tagline of 'a cast of 3000' is no mere hyperbole – and above all to a wonderful performance as pantomime-like villain, Prince Ghul, by Raymond Massey.
A spirited, patriotic, production imbued with an idyllic representation of the benevolence of British rule, released at a time when the Empire faced the dual threats of increasing nationalist resistance and the rise of fascism. As part of the defence of British and imperial values, the Korda brothers would produce a series of unashamedly propagandist features to highlight the merits of British colonialism. Ironically, the director of many of these productions, Zoltan Korda, would often clash with his brother over such material, given his own cherished liberal and socialist ideals. This film is based on a novel published just twelve months earlier by AEW Mason, to whom the Korda brothers would return the following year for a film adaptation of his most famous story, 'The Four Feathers'. The eponymous instrument in this production will augur the fall of imperial rule over the fictional principality of Tokot, with the marking of the massacre of British troops invited to a banquet held supposedly in their honour by the local treacherous khan. Tokot is notionally set in an area of historical unrest on the northern borders of the 'Jewel of the Imperial Crown', and one of the film's biggest draws is the glorious Technicolor cinematography used to full effect in capturing the majestic landscape of the North-West Frontier – Snowdonia in reality. This film also marks the second appearance of Sabu, and though written as a vehicle for this newly acquired teenage star and creating a wave of rave reviews in Hollywood, his performance suffers slightly due to his lack of sufficient screen time. His being cast as the young prince has a real touch of irony in that prior to being discovered he had followed in his father's footsteps as the ward to the Royal elephant stables to a local maharajah. The plot has our young prince, and true heir to the throne of Tokot, forced to flee his lands and assume the identity of a mere beggar boy on the streets of the Raj, after his uncle's usurping of his murdered father's title. In exile, the impressionable teenager seeks to warn his father's benign and paternalistic British masters of the threat his uncle poses to their continued rule. The stoic Ronald Livesey in the role of Captain Carruthers, though a consummate actor, is far from convincing as a dashing action hero. Yet, he is ably supported by the graceful and unflappable presence of his wife, played competently by Valerie Hobson - qualities she herself would be required to display years later off-screen as the besieged partner of scandal-ridden politician John Profumo. Despite being penned by the creator of one of the hallmark yarns depicting imperial adventure, 'The Four Feathers', the plot of this adapted production fails to move beyond first gear. Moreover, this unashamed defence of Empire is reputed to have sparked nationalist riots in India. Yet, despite its lack of political correctness, the film remains a watchable and colourful spectacle due to the aforementioned photography, the rousing action finale – where the movie's tagline of 'a cast of 3000' is no mere hyperbole – and above all to a wonderful performance as pantomime-like villain, Prince Ghul, by Raymond Massey.