At the beginning of the 20th century an American woman is abducted in Morocco by Berbers. The attempts to free her range from diplomatic pressure to military intervention.
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Two British soldiers in India decide to resign from the Army and set themselves up as deities in Kafiristan--a land where no white man has set foot since Alexander.
Director:
John Huston
Stars:
Sean Connery,
Michael Caine,
Christopher Plummer
An American soldier who escapes the execution of his comrades by Japanese soldiers in Borneo during WWII becomes the leader of a personal empire among the headhunters in this war story told... See full summary »
Life is rough in the coal mines of 1876 Pennsylvania. A secret group of Irish immigrant miners, known as the Molly Maguires, fights against the cruelty of the mining company with sabotage ... See full summary »
Director:
Martin Ritt
Stars:
Sean Connery,
Richard Harris,
Samantha Eggar
After Duke Anderson is released from prison after ten years for taking the rap for a scion of a Mafia family, he cashes in a debt of honor with the mob to bankroll a caper.
A no account outlaw establishes his own particular brand of law and order and builds a town on the edges of civilization in this farcical western. With the aid of an old law text and ... See full summary »
At the beginning of the 20th century an American woman is abducted in Morocco by Berbers. The attempts to free her range from diplomatic pressure to military intervention. Written by
Anonymous
In 1905, the US Marine Corps used a blue battle flag (as seen on the poster). The flag was not changed to red until the 1920s. See more »
Quotes
[first lines]
Eden:
Don't you agree that the most important part of the meal is the wine? Everything must follow the wine. And in this case, I should favor a Red Bordeaux.
Sir Joseph:
A Red Bordeaux at lunch? Your late husband would never have approved.
See more »
We usually think of the British as the experts at rendering great adventure from the Imperial age, with the likes of The Four Feathers (1939) and Zulu, simply because the Imperial age was, for the most part, British. Here, in The Wind and the Lion, we see a wonderful rendering of America's own Imperial age.
America's projection of power under Teddy Roosevelt is the backdrop for this conventional tale of the kidnapped damsel who, despite her gentility, is smitten by the rough, manly nobility of her captor, who in turn is disarmed by her beauty and scorn. (Politically correct prigs eager to see some slight of "native" peoples or cultures can rest assured, that the way Arabs and Muslims are depicted here is far more flattering than the way their modern counterparts depict themselves on the current world stage.) What makes this story different are the terrific production values - faultless photography, composition and editing - the terrific casting - the underappreciated Brian Keith playing a bully Teddy - and vivid history.
Though The Wind and the Lion is told largely through the eyes of the son, every member of the family can identify with one of the characters, whether it be Sean Connery's noble brigand, Candace Bergen's feisty heroine, John Huston's wily John Hay or Steve Kanaly's spiffy, radiant, ruthless can-do lieutenant, Roosevelt's "Big Stick". There is a transcendent scene at the end, when the little boy is symbolically swept away by the dashing Moor on his white steed. This is high adventure at its best.
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We usually think of the British as the experts at rendering great adventure from the Imperial age, with the likes of The Four Feathers (1939) and Zulu, simply because the Imperial age was, for the most part, British. Here, in The Wind and the Lion, we see a wonderful rendering of America's own Imperial age.
America's projection of power under Teddy Roosevelt is the backdrop for this conventional tale of the kidnapped damsel who, despite her gentility, is smitten by the rough, manly nobility of her captor, who in turn is disarmed by her beauty and scorn. (Politically correct prigs eager to see some slight of "native" peoples or cultures can rest assured, that the way Arabs and Muslims are depicted here is far more flattering than the way their modern counterparts depict themselves on the current world stage.) What makes this story different are the terrific production values - faultless photography, composition and editing - the terrific casting - the underappreciated Brian Keith playing a bully Teddy - and vivid history.
Though The Wind and the Lion is told largely through the eyes of the son, every member of the family can identify with one of the characters, whether it be Sean Connery's noble brigand, Candace Bergen's feisty heroine, John Huston's wily John Hay or Steve Kanaly's spiffy, radiant, ruthless can-do lieutenant, Roosevelt's "Big Stick". There is a transcendent scene at the end, when the little boy is symbolically swept away by the dashing Moor on his white steed. This is high adventure at its best.