Nolan was right, Raglan and Cardigan were wrong and didn't care to accept that, the light brigade was lost, and a blaming game ensues. In true 60s anti-war style, the arrogance of those in charge of the war machine brings about its own destruction. It is a war Engalnd should not have been involved in, but the arrogant big wigs made the decision to go. All this happens to the backdrop of Britain choosing to join in on a foreign war - to save Turkey from Russia. Note Lord Raglan's line: "It is a sad day for Britain when her officers know too much what they are doing." Nolan is the man trying to fight vainly against the ignorance-entrenched system. He believes in good sound leadership and decision making, and as such is constantly at odds with the stuffy and arrogant attitudes of his superiors - they are always right and he should speak when he's spoken to, even if he has a valid idea. In contrast to these men is Nolan (David Hemmings), an idealistic military man with 'principles'. To him, he is the most important part of that machine. He's more concerned with what his men drink out of in the mess, and punishing them for their wrongdoings, rather than on running a well oiled military machine. He believes that he is always right no matter what, simply because as the captain he is in charge. We meet, and are disgusted with, Lord Cardigan (Trevor Howard) whose arrogance is the driving force behind all he does. The audience is invited to feast upon the bumbling Lord Raglan (John Gielgud), who nonchalantly sits at his desk in the war office and calls the shots based only on his devotion to England's great past, rather than on any rational thought. Arrogance, the film conveys very clearly, which is based purely upon blissful ignorance. The idea of the film is to shamelessly point out the blind arrogance that lies behind the decisions made by those at the top to go to war. The film is a classic piece of late sixties film making both in the bizarre arty techniques used, and in the bold anti-war message. The Charge of the Light Brigade is an example of one of these misfires. However, not all these ideas worked well in practice. Lester did this to achieve an original knockabout and racy product, and Richardson did it to achieve a more stark and poignant effect for the supposed thinking-man's 'swinging' audience of the time. The two of them were mavericks, often eschewing traditional and reliable modes of film making in preference to trying out unchartered techniques - born out of nothing else but their own imaginations. Looks good, great garrison sets (actually built for real) amid the scorching heat, costumes are superb as expected and acting is solid from all the cast with solid direction from Warner stalwart Curtiz, its just a bit boring to be honest.Tony Richards was an ideas man, in some loose sense a lot like his contemporary 60s director Richard Lester. This is where it gets more exciting and our swashbuckling hero Errol begins to shine.but not for long. Despite the fictional sub plots and characters this does play well if you can take all the talking, as with modern films you are waiting for the final big push and charge. The usual contracted players as mentioned, they all go well together and shows why Warner stuck them together for many more pictures. The final charge sequence is very good for a film of the this time but its clear where horses have died for the screen, impressive stunts and action but is it worth it?Īs for the film its pretty dull throughout, much loving between Havilland and Knowles, much war talk with Flynn and plenty of the 'stiff upper lip old boy'. Yes an earlier time for sure, animal rights stepped in to halt filming with the horrendous horse massacre on location but the fact they still got away with it and were able to even start shows a different attitude which does cast a nasty spell over this film. The stunt men must have earned their pay, yikes!! I was surprised how much of the film is quite dark to be honest, the massacre at Chukoti (made up) is not bloody of course but its pretty graphic as is the final charge where horses are clearly throw all over the place (200 actual horses were killed during filming). One of Errol's early films in a time when shooting wild cats or even pretending to was seen as fine and displayed with glee.
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