Copyright 1959 by Hammer Films. Released by Columbia Pictures. New York opening: 3 September 1959. U.S. release: November 1959. U.K. trade show: June 1959. Australian release: 27 November 1959. 95 minutes. Australian release length: 8,581 feet. 99 minutes.
SYNOPSIS: Burma in World War 2. The remnants of a British brigade make their way through the jungle to a native village, occupied by the Japanese. After a brief skirmish, the enemy is routed and a native informer taken prisoner. When the man refuses to talk, the brigade's commanding officer (Stanley Baker) orders two innocent Burmese natives shot down in cold blood.
COMMENT: "Yesterday's Enemy" starts off in a deceptively familiar fashion, lulling the audience into the belief that we are in for yet another routine war-time jungle patrol film. Certainly, all the customary ingredients are here and the script often takes time out for the customary platitudes and philosophical questionings.
But where "Yesterday's Enemy" differs from its colleagues is in its violence and ruthlessness, its sense of futility and hopelessness, abetted by realistic playing (admittedly, Guy Rolfe and Leo McKern are none too convincing, but the others, particularly Baker, Jackson and Ahn, are excellent), atmospheric sets and photography (hard to believe the film was lensed entirely in the studio) and Guest's occasionally inventive direction.
SYNOPSIS: Burma in World War 2. The remnants of a British brigade make their way through the jungle to a native village, occupied by the Japanese. After a brief skirmish, the enemy is routed and a native informer taken prisoner. When the man refuses to talk, the brigade's commanding officer (Stanley Baker) orders two innocent Burmese natives shot down in cold blood.
COMMENT: "Yesterday's Enemy" starts off in a deceptively familiar fashion, lulling the audience into the belief that we are in for yet another routine war-time jungle patrol film. Certainly, all the customary ingredients are here and the script often takes time out for the customary platitudes and philosophical questionings.
But where "Yesterday's Enemy" differs from its colleagues is in its violence and ruthlessness, its sense of futility and hopelessness, abetted by realistic playing (admittedly, Guy Rolfe and Leo McKern are none too convincing, but the others, particularly Baker, Jackson and Ahn, are excellent), atmospheric sets and photography (hard to believe the film was lensed entirely in the studio) and Guest's occasionally inventive direction.