Zulu

Cy Endfield's Zulu (1964) is one of the greatest war films of all time. A cross between a Western, an imperial epic and a "unit picture" war film, it's a major success, mixing epic scope with intimate detail, and eschewing political considerations for the stark reality of war.

January 1879. Tensions between the British and Zulus in Natal explode into violence with the massacre of a British column at Isandlwana. The triumphant Zulu army, led by King Cetshwayo (Mangosuthu Buthelezi), closes in on the Rorke's Drift mission, with a small garrison of mostly Welsh soldiers. Engineer Lieutenant John Chard (Stanley Baker) clashes with the post commander, Lt. Gonville Bromhead (Michael Caine), over seniority, but they put aside their differences when 4,000 Zulus appear on the horizon. The 100 or so British soldiers, armed only with single-shot Martini rifles and bayonets, show remarkable courage in repulsing wave after wave of Zulus, but will it be enough?

At heart, Zulu is a Western in imperialist garb. Its characters chew off acres of laconic, clipped dialogue as they shoot down the Zulu hordes: "Why us?" "Because we're here, lad. Nobody else. Just us." The film is an ode to professionalism that Howard Hawks would envy: the drunken pacifist priest (Jack Hawkins), his wimpy daughter (Ulla Jacobsen), and the "cowardly" native levies have no place here. Just leave everything to the Welshmen and everything will be fine.

Aside from off-hand comments, the movie avoids the politics of war and imperialism, very much to its benefit - compare it to the overwrought Zulu Dawn (1979), which compares the British to Nazi Germany. Instead, it's a very convincing and detailed depiction of war, from the officers to the grunts. The first hour is leisurely-paced, taking care to establish its large cast. Dozens of soldiers get speaking parts, each with a simple but memorable characteristic: none of them are cannon fodder, and each death or injury matters. The movie lacks a Zulu perspective, but takes pains to show them as a heroic, honorable foe worthy of respect.

The main attraction, of course, are the battle scenes, which make up the entire second half of the film. They are some of the best ever filmed. Though dated in some of the details, they brilliantly mix intensity and scope: you can appreciate the tactics of both sides and the plight of the soldiers. Small moments, like Chard and two Zulus standing off, have a great impact: this is war at its most personal and frightening. The movie climaxes with an incredibly powerful sequence, as the British and Zulu soldiers singing war songs (Men of Harlech for the Brits, a haunting chant of defiance for the Zulus) before the final showdown.

Endfield provides skillful direction. Despite its limited scope, the film achieves a visual grandeur, using the mission as a natural ampitheater surrounded by beautiful South African hills and dozens of extras waiting off-stage. Besides Stephen Dade's gorgeous photography, the brilliant use of sound by Rusty Coppleman - particularly the recurring Zulu "train noise" - also plays a key role. John Barry contributes one of his best scores, a rousing, appropriately heroic battle theme that resonnates throughout the film.

Stanley Baker (The Guns of Navarone) both produced and co-stars, and he gives a career-best turn. Michael Caine, in one of his earliest roles, plays wonderfully against type; Bromhead starts out as a caricature, but Caine convincingly portrays his maturation under fire. Jack Hawkins (Bridge on the River Kwai) is uncharacteristically obnoxious, and Ulla Jacobson seems present only for sex appeal; these two drag down much of the early sections, and their departure is welcome.

Of the huge supporting cast, the best is Nigel Green (The Ruling Class), his Colour-Sergeant Bourne the coolly authoritative, fatherly career soldier, dominating his every scene. Other standouts include James Booth's cowardly Hook, Patrick Magee's (Barry Lyndon) dedicated surgeon, Ivor Emmanuel's cheery choir leader, and Gert Van Der Bergh's coolly professional Boer scout. Richard Burton bookends the film with brief but effective narration.

All in all, Zulu is an impressive achievement, and an enjoyable, gripping war film. It's simply among the best of its kind.