Even though Peter and Kimani grow up together, Kimani soon finds that different races are treated differently. After the father of Kimani is jailed for following tribal customs, Kimani ...
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The man called Obam struggles with the increasingly hostile forces facing each other in a colonial African country. The African natives want their land and lives back from the British ... See full summary »
Even though Peter and Kimani grow up together, Kimani soon finds that different races are treated differently. After the father of Kimani is jailed for following tribal customs, Kimani joins a band of rebels that wants all non-Kenyans out of their country. While Kimani believes in the cause, he does not agree with the indiscriminate killing of women, children and those who will not join or agree with them. Peter, even after the deaths of his little sister and brother by the Mau Mau, still believes that there is a chance for peaceful co-existence. He believes that he can stop most of the killing if he can only reason with Kimani. Written by
Tony Fontana <firstname.lastname@example.org>
There is a scene in the film where Dana Wynter drives a Landrover. This was filmed in Kenya and Wynter couldn't drive the Landrover. A British Citizen who beared an uncanny resembleness to Wynter, who was living and working near to the filming location stood in for this driving scene. Her name is Eileen Cussans now 84 and now lives W Sussex, UK See more »
Racial tensions in East Africa provide for topical war story with odd casting...
Rock Hudson stars as the son of a white farmer living in East Africa near Nairobi circa 1950; he's as close as a brother to Sidney Poitier--portraying sort of a slave-cum-porter--until the laws of the domineering British interfere with the black people's superstition-laden ways of living. Poitier becomes part of a bloodthirsty revolt against the oppression of his people, eventually pitting him one-on-one against his friend. Robert C. Ruark's book of racial upheavals and issues (loyalties, betrayals, and injustices) has been adapted well for the screen by writer-director Richard Brooks, although Hudson's character doesn't have many dimensions (and he looks too old to be boyhood pals with Poitier, anyway). The scenes of violence are hard-hitting, yet Brooks' lumpy way of laying out this complicated story occasionally turns the proceedings into high-pitched melodrama. A romance sub-plot between Hudson and pretty-but-piqued Dana Wynter doesn't provide enough substantial release from the horror and strife surrounding them, and Poitier's final scenes are geared towards narrative action and not character motivation. A mixed-bag, but certainly not uninteresting. **1/2 from ****
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