In the late 1930s, in Ferrara, Italy, the Finzi-Contini are one of the leading families, wealthy, aristocratic, urbane; they are also Jewish. Their adult children, Micol and Alberto, gather... See full summary »
Vittorio De Sica
During the war in Afghanistan a Soviet tank crew commanded by a tyrannical officer find themselves lost and in a struggle against a band of Mujahadeen guerrillas in the mountains. A unique ... See full summary »
The extraordinary true story of Oliver Woodward. It's 1916 and Woodward must tear himself from his new young love to go to the mud and carnage of the Western Front. Deep beneath the German ... See full summary »
Steve Le Marquand
During the Boer War, three Australian lieutenants are on trial for shooting Boer prisoners. Though they acted under orders, they are being used as scapegoats by the General Staff, who hopes to distance themselves from the irregular practices of the war. The trial does not progress as smoothly as expected by the General Staff, as the defence puts up a strong fight in the courtroom. Written by
Kasper Sevaj <firstname.lastname@example.org>
This was the second film of director Bruce Beresford's three picture deal with the South Australian Film Corporation. Originally, for his second film project, Beresford was intending to film 'Breakout', a film about the escape of Japanese prisoners-of-war from an Australian POW camp during World War II. Beresford gave away this project after working on four draft screenplays and instead turned to this project. The 'Breakout' project was eventually filmed as The Cowra Breakout (1984) by other directors and it is interesting to note that Beresford would eventually make a movie involving the Japanese and the Second World War when he made Paradise Road (1997). See more »
During the Morant trial, a military band is heard playing Edward Elgar's "Pomp and Circumstance March No. 1." The march was premiered in England in October 1901, and it is very unlikely that an arrangement for military band was available less than two months later when the trial took place. It wasn't until later in 1902 that the words "Land of Hope and Glory" became permanently wedded to the tune. See more »
[Saying his goodbyes to Morant and Handcock]
See you in hell, mate!
[Gripping George's hand]
Why did they do this to us, Harry? Why?
They have to apologize for their damned war. They're trying to end it now, so they need scapegoats.
[Being dragged away by prison guards]
George! We're scapegoats to the bloody empire!
[Being led past the soldiers preparing their rifles for Morant and Handcock's firing squad]
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Introducing Lewis Fitz-Gerald as George Witton See more »
After first encountering "Breaker" Morant during a bout of insomnia in 1984 on cable, I have repeatedly come back to this film as one of my all-time classics--covering war, politics, tactics, transitions to manhood involved in all wars--and injustice.
Although set during the Boer War, the account of three officers tried for murder during a war in which the opponents were dressed as civilians has its obvious parallels to the 21st Century. It is absolutely amazing how similar a court marshal can be out on the "velt" of South Africa, in Washington, D.C., or during a purely uniformed war in which all protagonists are easily identifiable.
Three Australian volunteers for the "Bushvelt Carbineers", recruited to fight against civilian-clad commandos (reportedly the first use of the term), find themselves charged with murder, and set as an example by the British in order to prevent Germany from entering the war on the side of the Boer (Dutch) inhabitants of South Africa. In one incredulous encounter between a British officer and Lord Kitchener, the officer spouts the British line "they lack our altruism" (referring to German interests in the gold and silver mines of South Africa), to which Lord Kitchener grudgingly responds, "Quite." A sham trial from start to finish, the Australians are defended by military attorney with experience in "land conveyancing and wills" to which one of those charged, "the latter might come in handy." The film is replete with irony and tragicomic circumstances, as this "new war for a new century" presages many of the conflicts that would come later in the 20th century, and many of the clear paradoxes and trying aspects of the war against terror--again, in which one side is not uniformed, does not conduct war according to any known "rules" of "civilized warfare" (an oxymoron if ever there was one). It has lost none of its cutting edge in the 25-odd years since its release.
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