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King & Country (1964)

Not Rated | | Drama, War | 30 November 1965 (USA)
During World War I, an army private is accused of desertion during battle. The officer assigned to defend him at his court-martial finds out there is more to the case than meets the eye.


Joseph Losey


Evan Jones (screenplay), John Wilson (from the stage play by) | 1 more credit »

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Nominated for 4 BAFTA Film Awards. Another 2 wins & 2 nominations. See more awards »


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Cast overview, first billed only:
Dirk Bogarde ... Captain Hargreaves
Tom Courtenay ... Private Arthur James Hamp
Leo McKern ... Captain O'Sullivan
Barry Foster ... Lieutenant Webb
Peter Copley ... Colonel
James Villiers James Villiers ... Captain Midgley
Jeremy Spenser ... Private Sparrow (as Jeremy Spencer)
Barry Justice Barry Justice ... Lieutenant Prescott
Vivian Matalon Vivian Matalon ... Padre
Keith Buckley ... Corporal of Guard
James Hunter James Hunter ... Private Sykes
Jonah Seymour Jonah Seymour ... Corporal Hamilton
Larry Taylor ... Sergeant Major
David Cook David Cook ... Private Wilson
Richard Arthure Richard Arthure ... Guard


During World War One, the British troops are entrenched at Passchendaele, Belgium. Among the volunteers there is a young British soldier, Arthur Hamp, who is the sole survivor of his original company. Hamp spent three years in the trenches and this makes him a veteran. He has never been accused of cowardice but one day he simply decides to leave the war behind him and walk all the way home to Britain. In Calais, France, he is challenged by a Military Police patrol who promptly arrests him for leaving without permission. Hamp's commanding officers decide to convene a Court Martial and charge him with desertion. If found guilty, Hamp could be shot by a firing squad. Captain Hargreaves is assigned to be Hamp's defending attorney but he seems skeptical about his chances of acquittal for the deserter. During their first talk, Captain Hargreaves is impressed by his client's utter sincerity and naivete. He learns that his client volunteered on a dare by his friends back home, spent three ... Written by nufs68

Plot Summary | Add Synopsis


"Go ahead... kill him - you're the only friend he has!" See more »


Drama | War


Not Rated | See all certifications »






Release Date:

30 November 1965 (USA) See more »

Also Known As:

För kung och fosterland See more »


Box Office


$300,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Mono (Westrex Recording System)


Black and White (archive footage)| Black and White

Aspect Ratio:

1.66 : 1
See full technical specs »

Did You Know?


Hamp mentions to Capt. Hargreaves that he was given a "number nine" when he saw a M.O. (Medical Officer). This was a laxative tablet freely handed out by M.O.s to soldiers "not yet diagnosed", or classified as "medicine and duty", or to those suspected as malingering. See more »


Equipment shadow visible next to the door as the camera pulls back from the colonel's office after having received the messenger's dispatch. See more »


Captain Midgley: A proper court is concerned with law. It's a bit amateur to plead for justice.
See more »


Version of The Case of Private Hamp (1962) See more »

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User Reviews

Less an anti-war film than a critique of portrayals of war.
7 December 2000 | by Alice LiddelSee all my reviews

The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic.

'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices.

Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before.

This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff.

The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world.

The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'.

This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that.

The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War.

This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events.

This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight.

Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.

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