| Complete credited cast: | |||
| Rock Hudson | ... | Henry's Son - Peter | |
| Dana Wynter | ... | Peter's Betrothed - Holly | |
| Wendy Hiller | ... | Henry's Daughter - Elizabeth | |
| Juano Hernandez | ... | Njogu - Oath Giver | |
| William Marshall | ... | Leader - Intellectual in Suit | |
| Robert Beatty | ... | Elizabeth's Husband - Jeff Newton | |
| Walter Fitzgerald | ... | A White Settler - Henry McKenzie | |
| Michael Pate | ... | A Farmer - Joe Matson | |
| Ivan Dixon | ... | Lathela - Loyal Gun-Bearer | |
| Ken Renard | ... | Karanja - Father of Kimani | |
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Samadu Jackson | ... | Witch Doctor |
| Frederick O'Neal | ... | Adam Marenga - Mau-Mau Leader | |
| Sidney Poitier | ... | Kimani Wa Karanja | |
Although Peter and Kimani grew up together, Kimani soon finds that different races are treated differently. After Kimani's father 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. Even after the Mau Mau murder his little sister and brother, Peter still believes that there is a chance for peaceful co-existence and that he can stop most of the killing if he can reason with Kimani. Written by Tony Fontana <tony.fontana@spacebbs.com>
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 ****