Zulu


2h 18m 1964

Brief Synopsis

Although outnumbered, British soldiers make an heroic stand against revolting Zulu warriors.

Film Details

Genre
Epic
Action
Historical
War
Release Date
Jan 1964
Premiere Information
Detroit opening: 17 Jun 1964
Production Company
Diamond Films
Distribution Company
Embassy Pictures
Country
United Kingdom

Technical Specs

Duration
2h 18m
Sound
4-Track Stereo (35 mm magnetic prints), 70 mm 6-Track (70 mm prints), Mono (35 mm optical prints)
Color
Color (Technicolor)
Theatrical Aspect Ratio
2.20 : 1, 2.20 : 1, 2.35 : 1

Synopsis

In Natal, South Africa, in 1879, Reverend Otto Witt and his daughter Margaretta are watching a Zulu ceremonial dance when they learn that 1,200 British soldiers have been slaughtered by Zulus and that the Zulus plan to attack their missionary station and destroy the small British garrison stationed there. The Witts rush to warn Lieutenants Chard and Bromhead, the commanding officers. Witt pleads with them to abandon the station, they refuse, and although the odds are 105 to 4,000 against them, the British begin plans for their defense. The Zulus attack in waves, battering the station and leaving nerve-shattering interludes of silence between each assualt. The Zulus break through the wall of the hospital after hours of fighting, but the dwindling garrison maintains a valiant defense. Suddenly the Zulus withdraw, saluting the valor of the British as they retire. Later, Chard, Bromhead, and nine others are awarded the Victoria Cross for their bravery.

Film Details

Genre
Epic
Action
Historical
War
Release Date
Jan 1964
Premiere Information
Detroit opening: 17 Jun 1964
Production Company
Diamond Films
Distribution Company
Embassy Pictures
Country
United Kingdom

Technical Specs

Duration
2h 18m
Sound
4-Track Stereo (35 mm magnetic prints), 70 mm 6-Track (70 mm prints), Mono (35 mm optical prints)
Color
Color (Technicolor)
Theatrical Aspect Ratio
2.20 : 1, 2.20 : 1, 2.35 : 1

Articles

Zulu on Blu-ray


The all-time favorite battle epic Zulu was one of the original late- 1980s Criterion laserdiscs formatted in the then- revolutionary "Letterbox" format. One was obliged to load several large lasers to see the movie, which was recorded in half-hour bursts. Some DVDs followed from legit and sub-legit sources, all of which were eventually eclipsed a few years back by a highly regarded Brit import Blu-ray with a razor-sharp picture and dazzling color. The new Twilight Time limited edition release is just as impressive.

A magnificent depiction of a famous military engagement in which a couple of hundred British soldiers were stormed by thousands of Zulu warriors, the 1964 release has long been a favorite 'boys own' true adventure tale. Originally released in 70mm, Zulu it's an all-out glorification of the Queen's colonial forces and military gallantry in general. It is fairly accurate about the bare facts of the battle, which are impressive on their own.

The movie was released just before the Vietnam War kicked into high gear, at a time when expensive epics were unlikely to be critical of a colonial war. Zulu's relative politically neutrality is interesting, considering that its makers were socially committed artists decidedly left of center. Director and co-writer Cy Endfield was a refugee from political persecution in the U.S.. The director of the savagely critical, highly recommended Try and Get Me! and The Underworld Story, Endfield lost the better part of a decade restarting his career in England. Always a practical fellow, he was considering playing along with the blacklisters when the chance came to partner with actor-producer Stanley Baker. Their 1957 Hell Drivers is a tough-minded tale of corruption in the British trucking industry, easily interpreted as a leftist indictment of free-market capitalism.

Easily the most accomplished and successful of Baker and Endfield's efforts, Zulu does not ask why Great Britain is warring against South Africa's Zulu nation in 1879. Although the indigenous Zulus are treated with respect, the movie still regards them as tribal forces on the attack, not a righteous nation repelling an Anglo invasion. When the troops manning the isolated camp at Rorke's Drift are forced to make a stand, two ranking officers (Stanley Baker and the fresh new star Michael Caine) squabble over seniority issues to determine who will command, and then repeatedly critique each other's performance. An alcoholic doctor (Jack Hawkins) and his seriously repressed daughter (Ulla Jacobson) interfere with the defense preparations, spreading defeatism among the Drift's relatively tiny complement of soldiers. The strong, unflappable Colour-Sgt. Bourne (Nigel Green) shows how Brit Army discipline pays off, repeatedly averting panic in the ranks. Doctor Reynolds (Patrick Magee) deals with the horrendous injuries sustained in the battle. Having gone to a lot of trouble to get himself into the infirmary, the malingering Pvt. Hook (a delightful James Booth) resists taking part in the fighting until given no choice.

Stanley Baker's idea of a righteous message is to champion the role of Welshmen in the army. This sets up a classic sequence in which the Zulus' fearsome war chants are answered with mighty Welsh choral singing. A superb director for both actors and camera, Cy Endfield seemingly sets politics aside to concentrate on making every shot a perfectly-judged marvel. So many moving master shots interweave the action and drama that we're soon caught up in the escalating jeopardy. The action is crystal clear: when the Zulu chieftain coordinates attacks from multiple directions, we have no problem keeping our bearings and understanding what's going on.

I can imagine that Cy Endfield was more fully engaged by the far more overtly political prequel to Zulu made fifteen years later, Zulu Dawn. With its comparatively uncomplicated bravery, smaller 'scope and positive outcome, the two-day assault on Rorke's Drift is a far more commercial choice for a film subject. The battle sees fewer than two hundred men holding off thousands of enemy warriors. It's like The Alamo, except that "the Anglos win." Although we're told that the film employed only 250 Zulu tribesmen, clever filmmaking multiplied them into thousands, giving an impression of combat on a massive scale. The present-day Zulu chief played his ancestor, Cetshwayo.

The battles are breathtaking, even if it's hard to understand why the Zulu commander commits only a few hundred foot soldiers to any one assault. The defenders manage to cut down wave after wave of charging warriors. Black bodies pile up like cordwood, while the tally of Redcoats shot seems too high to account for the large number still standing after the major attacks. We're given scores of scenes in which masses of Zulus are knocked down like tenpins, as well as the iconic "racist adventure" image of a gallant Anglo blasting a black warrior full in the face with his revolver. We cannot help but respond positively to impressive bits of valor, as when Private Hook abandons his cynical stance to join the fray, or when disaster is averted because a wounded, crippled soldier rushes out of sick bay to fight back using his crutch as a weapon. This kind of 'combat charisma' will appeal to any boy in the audience.

The picture neatly contrasts the British military system with that of the Zulu army, which uses a similar command structure and follows equally rigid traditions, as depicted through the fearsome tribal chants that gear them up for their withering attacks. When the enemies trade songs across the battlefield, it is a stirring evocation of the nobility of warriors & military traditions, British and Zulu. Yet we're told that this entire 'warrior salute' idea was an invention -- it never actually happened. The scene allows us to feel good about identifying with a small number of white fighters as they annihilate many hundreds of non-white opponents, about whom we learn very little. It's the old Colonial story.

The entire cast is terrific -- Zulu is one of the better sagas about men in violent situations, under intolerable stress. Stanley Baker is warmer and less brutal than in his other roles for Robert Aldrich (The Last Days of Sodom and Gomorrah), Cy Endfield (Sands of the Kalahari) and (another blacklisted Yank) Joseph Losey (The Criminal, Accident). Michael Caine's stunning leading performance surely won him his first million female admirers. Caine doesn't overstress his character's aristocratic superiority, which lends credibility to his competition with Baker's working class engineer. The performances and direction mesh so nicely that Zulu freshens the oldest cliché's of war movies. When all seems lost, Baker and Caine's exhausted characters become giddy. Impending annihilation will at least relieve them of the unbearable pressure.

Like all of Twilight Time's releases, Zulu is limited to a 3000-unit run. It's a highly desirable disc and I have no doubt that it will be a quick sellout.

The Twilight Time Blu-ray of Zulu is among the label's first titles licensed from MGM. The transfer is, well, gorgeous, the equal or better than that on the coveted UK disc. It was licensed from Paramount, which holds rights to everything but U.S. home video. MGM acquired those through the Polygram/Epic library. The HD transfer is from a 65mm IP made from the original camera neg (in Paramount's possession.

After comparing the two transfers directly, Twilight Time's new release has a slight edge. The UK has a heavier contrast and a slightly overstated chroma -- the uniforms are a harsh scarlet that obscures detail. Twilight Time's disc is smoother without sacrificing any impact. The heightened resolution on both releases allows us to judge production details, right down to the stitching on the uniforms. The movie uses old-fashioned makeup techniques, and it's interesting to see how Michael Caine's fair eyes and eyebrows have been 'sharpened' up with added color and eyeliner.

The new disc has a 2.0 stereo track, which may have been reprocessed from mono. According to more than one source, the 1964 Super Technirama 70 release of Zulu was in Westrex 6-track stereo.

An Isolated Score Track billboards John Barry's powerful and bombastic themes that are in much the same vein as his 'heavier' music for some of the Bond films. The disc's commentary claims that the best scoring comes in a scene where the camp is being prepared for battle. Barry simply 'Mickey Mouses' his music to the action, making the overturning of three wagons into a major dramatic event. Just the same, the marvelous Zulu chants and unnerving battle marches 'played' by hitting spears against shields are even more memorable. The battle songs of the Welsh tenors come off as a beautiful counterpoint.

An original trailer is also present. The major extra is the commentary track by Twilight Time principal Nick Redman and Lem Dobbs, a noted screenwriter billed as a film historian. The length of the movie allows Redman to offer reams of fascinating background material on the Anglo-Zulu War of 1879. The record number of Victoria Crosses awarded to the surviving troops was actually a political maneuver meant to draw attention away from the debacle of the previous defeat at Isandlwana. A few comments seem a bit on the flip side, as when we're told that, "Yes, maybe the movie does have Commie messages, because the preacher is portrayed as a drunk." But I was amused to be informed that several major cast members were never on location in South Africa -- Patrick Magee and James Booth are never seen outside the hospital and infirmary buildings.

Julie Kirgo's insert liner notes are as well written as always. She defends the factual liberties in this movie and Raoul Walsh's vintage Errol Flynn epic They Died With Their Boots On with the observation that they "never meant to be historically accurate." Well, all movies are skewed by the prevailing attitudes of their time, whether the bias is intentional or not. Zulu fudges some facts about Rorke's Drift to generate its feel-good finale, but it must be admitted that its overall mindset is quite advanced. In 1964 most movies about African tribes hadn't progressed past the Tarzan stage. It was a big step for Zuluto depict native troops as worthy opponents and not mindless savages.

By Glenn Erickson

Zulu On Blu-Ray

Zulu on Blu-ray

The all-time favorite battle epic Zulu was one of the original late- 1980s Criterion laserdiscs formatted in the then- revolutionary "Letterbox" format. One was obliged to load several large lasers to see the movie, which was recorded in half-hour bursts. Some DVDs followed from legit and sub-legit sources, all of which were eventually eclipsed a few years back by a highly regarded Brit import Blu-ray with a razor-sharp picture and dazzling color. The new Twilight Time limited edition release is just as impressive. A magnificent depiction of a famous military engagement in which a couple of hundred British soldiers were stormed by thousands of Zulu warriors, the 1964 release has long been a favorite 'boys own' true adventure tale. Originally released in 70mm, Zulu it's an all-out glorification of the Queen's colonial forces and military gallantry in general. It is fairly accurate about the bare facts of the battle, which are impressive on their own. The movie was released just before the Vietnam War kicked into high gear, at a time when expensive epics were unlikely to be critical of a colonial war. Zulu's relative politically neutrality is interesting, considering that its makers were socially committed artists decidedly left of center. Director and co-writer Cy Endfield was a refugee from political persecution in the U.S.. The director of the savagely critical, highly recommended Try and Get Me! and The Underworld Story, Endfield lost the better part of a decade restarting his career in England. Always a practical fellow, he was considering playing along with the blacklisters when the chance came to partner with actor-producer Stanley Baker. Their 1957 Hell Drivers is a tough-minded tale of corruption in the British trucking industry, easily interpreted as a leftist indictment of free-market capitalism. Easily the most accomplished and successful of Baker and Endfield's efforts, Zulu does not ask why Great Britain is warring against South Africa's Zulu nation in 1879. Although the indigenous Zulus are treated with respect, the movie still regards them as tribal forces on the attack, not a righteous nation repelling an Anglo invasion. When the troops manning the isolated camp at Rorke's Drift are forced to make a stand, two ranking officers (Stanley Baker and the fresh new star Michael Caine) squabble over seniority issues to determine who will command, and then repeatedly critique each other's performance. An alcoholic doctor (Jack Hawkins) and his seriously repressed daughter (Ulla Jacobson) interfere with the defense preparations, spreading defeatism among the Drift's relatively tiny complement of soldiers. The strong, unflappable Colour-Sgt. Bourne (Nigel Green) shows how Brit Army discipline pays off, repeatedly averting panic in the ranks. Doctor Reynolds (Patrick Magee) deals with the horrendous injuries sustained in the battle. Having gone to a lot of trouble to get himself into the infirmary, the malingering Pvt. Hook (a delightful James Booth) resists taking part in the fighting until given no choice. Stanley Baker's idea of a righteous message is to champion the role of Welshmen in the army. This sets up a classic sequence in which the Zulus' fearsome war chants are answered with mighty Welsh choral singing. A superb director for both actors and camera, Cy Endfield seemingly sets politics aside to concentrate on making every shot a perfectly-judged marvel. So many moving master shots interweave the action and drama that we're soon caught up in the escalating jeopardy. The action is crystal clear: when the Zulu chieftain coordinates attacks from multiple directions, we have no problem keeping our bearings and understanding what's going on. I can imagine that Cy Endfield was more fully engaged by the far more overtly political prequel to Zulu made fifteen years later, Zulu Dawn. With its comparatively uncomplicated bravery, smaller 'scope and positive outcome, the two-day assault on Rorke's Drift is a far more commercial choice for a film subject. The battle sees fewer than two hundred men holding off thousands of enemy warriors. It's like The Alamo, except that "the Anglos win." Although we're told that the film employed only 250 Zulu tribesmen, clever filmmaking multiplied them into thousands, giving an impression of combat on a massive scale. The present-day Zulu chief played his ancestor, Cetshwayo. The battles are breathtaking, even if it's hard to understand why the Zulu commander commits only a few hundred foot soldiers to any one assault. The defenders manage to cut down wave after wave of charging warriors. Black bodies pile up like cordwood, while the tally of Redcoats shot seems too high to account for the large number still standing after the major attacks. We're given scores of scenes in which masses of Zulus are knocked down like tenpins, as well as the iconic "racist adventure" image of a gallant Anglo blasting a black warrior full in the face with his revolver. We cannot help but respond positively to impressive bits of valor, as when Private Hook abandons his cynical stance to join the fray, or when disaster is averted because a wounded, crippled soldier rushes out of sick bay to fight back using his crutch as a weapon. This kind of 'combat charisma' will appeal to any boy in the audience. The picture neatly contrasts the British military system with that of the Zulu army, which uses a similar command structure and follows equally rigid traditions, as depicted through the fearsome tribal chants that gear them up for their withering attacks. When the enemies trade songs across the battlefield, it is a stirring evocation of the nobility of warriors & military traditions, British and Zulu. Yet we're told that this entire 'warrior salute' idea was an invention -- it never actually happened. The scene allows us to feel good about identifying with a small number of white fighters as they annihilate many hundreds of non-white opponents, about whom we learn very little. It's the old Colonial story. The entire cast is terrific -- Zulu is one of the better sagas about men in violent situations, under intolerable stress. Stanley Baker is warmer and less brutal than in his other roles for Robert Aldrich (The Last Days of Sodom and Gomorrah), Cy Endfield (Sands of the Kalahari) and (another blacklisted Yank) Joseph Losey (The Criminal, Accident). Michael Caine's stunning leading performance surely won him his first million female admirers. Caine doesn't overstress his character's aristocratic superiority, which lends credibility to his competition with Baker's working class engineer. The performances and direction mesh so nicely that Zulu freshens the oldest cliché's of war movies. When all seems lost, Baker and Caine's exhausted characters become giddy. Impending annihilation will at least relieve them of the unbearable pressure. Like all of Twilight Time's releases, Zulu is limited to a 3000-unit run. It's a highly desirable disc and I have no doubt that it will be a quick sellout. The Twilight Time Blu-ray of Zulu is among the label's first titles licensed from MGM. The transfer is, well, gorgeous, the equal or better than that on the coveted UK disc. It was licensed from Paramount, which holds rights to everything but U.S. home video. MGM acquired those through the Polygram/Epic library. The HD transfer is from a 65mm IP made from the original camera neg (in Paramount's possession. After comparing the two transfers directly, Twilight Time's new release has a slight edge. The UK has a heavier contrast and a slightly overstated chroma -- the uniforms are a harsh scarlet that obscures detail. Twilight Time's disc is smoother without sacrificing any impact. The heightened resolution on both releases allows us to judge production details, right down to the stitching on the uniforms. The movie uses old-fashioned makeup techniques, and it's interesting to see how Michael Caine's fair eyes and eyebrows have been 'sharpened' up with added color and eyeliner. The new disc has a 2.0 stereo track, which may have been reprocessed from mono. According to more than one source, the 1964 Super Technirama 70 release of Zulu was in Westrex 6-track stereo. An Isolated Score Track billboards John Barry's powerful and bombastic themes that are in much the same vein as his 'heavier' music for some of the Bond films. The disc's commentary claims that the best scoring comes in a scene where the camp is being prepared for battle. Barry simply 'Mickey Mouses' his music to the action, making the overturning of three wagons into a major dramatic event. Just the same, the marvelous Zulu chants and unnerving battle marches 'played' by hitting spears against shields are even more memorable. The battle songs of the Welsh tenors come off as a beautiful counterpoint. An original trailer is also present. The major extra is the commentary track by Twilight Time principal Nick Redman and Lem Dobbs, a noted screenwriter billed as a film historian. The length of the movie allows Redman to offer reams of fascinating background material on the Anglo-Zulu War of 1879. The record number of Victoria Crosses awarded to the surviving troops was actually a political maneuver meant to draw attention away from the debacle of the previous defeat at Isandlwana. A few comments seem a bit on the flip side, as when we're told that, "Yes, maybe the movie does have Commie messages, because the preacher is portrayed as a drunk." But I was amused to be informed that several major cast members were never on location in South Africa -- Patrick Magee and James Booth are never seen outside the hospital and infirmary buildings. Julie Kirgo's insert liner notes are as well written as always. She defends the factual liberties in this movie and Raoul Walsh's vintage Errol Flynn epic They Died With Their Boots On with the observation that they "never meant to be historically accurate." Well, all movies are skewed by the prevailing attitudes of their time, whether the bias is intentional or not. Zulu fudges some facts about Rorke's Drift to generate its feel-good finale, but it must be admitted that its overall mindset is quite advanced. In 1964 most movies about African tribes hadn't progressed past the Tarzan stage. It was a big step for Zuluto depict native troops as worthy opponents and not mindless savages. By Glenn Erickson

Zulu


In January 1879 British forces invaded KwaZulu in South Africa in an effort to confederate the territory under the rule of Governor-General Sir Henry Bartle Edward Frere. The Zulu populace refused to accept this edict and retaliated with an attack on British forces at Isandlwana on January 22nd, killing more than 1300 soldiers. Later that same day more than four thousand Zulu warriors advanced on Rorke's Drift, a British missionary station in Natal protected by a small army of 139 soldiers. Over a two day period, the Zulus attacked the garrison in waves, incurring huge losses as they were constantly driven back by the intractable British defense. Exhausted and fearing the worst, the surviving British troops were stunned when the Zulus decided to retreat at dawn, saluting them for their bravery before they departed. Later nine men from the garrison were awarded the prestigious Victoria Cross, the most ever awarded to one regiment for valor in a single battle. Besides its importance in British military history, the Defense of Rorke's Drift is a prime example of the supreme effectiveness of Western military practices and procedures.

It was inevitable that such a momentous event in British history would be brought to the screen and in the early sixties, actor Stanley Baker, whose popularity was at its height, proposed an epic re-enactment of the Rorke's Drift incident as the first project of his newly created production company, Diamond Films. Thanks to producer Joseph E. Levine, who agreed to back any movie Baker wanted to make, the actor was able to go forward with Zulu (1964), working from a screenplay by historical writer John Prebble with contributions by blacklisted American screenwriter Cy Endfield, who was also tapped to direct. Endfield first worked with Baker on Child in the House in 1956 and after that the two men collaborated on five more films together, culminating in their final venture, Sands of the Kalahari, in 1965.

Baker's interest in Zulu, however, wasn't purely to pay tribute to the bravery of both the British officers and the Zulu warriors who clashed at Rorke's Drift but to accent the fact that most of the defending soldiers at the outpost were Welsh like himself, a fact he took great pride in. And among the many players in this historical drama, three stand out among the rest, Lt. Chard, Private Henry Hook and Lt. Gonville Bromhead, all based on the actual people. At one point, the Rev. Witt, also based on a real person, played a bigger part in the story but his role was reduced during editing (to the great disappointment of actor Jack Hawkins.)

Baker cast himself as Chard and James Booth played the cynical petty thief Private Hook who spends most of the story being treated for boils and other ailments in the makeshift infirmary. Michael Caine, who at this point in his career was still an unknown bit player, was cast as Bromhead, after losing the part of Hook to Booth. The actor recalled in Michael Caine: Acting in Film that "since I was tall and fair, I apparently looked like a posh Englishman, and the director, Cy Endfield, asked if I could do an upper-class accent. I switched quickly to Etonian and said, "Why, Mr. Endfield, I've been doing it for years." He had me do a screen test, during which I showed my absolute terror. He came up to me at a party the following night, after ignoring me most of the evening, and said, "That was the worst damn screen test I ever saw in my life." I thought, okay, so I haven't got it. "But," he continued, "you've got the part because we're leaving on Monday and we can't find anybody else."

After Baker and his England based cast and crew arrived in South Africa they set up camp near the Drakensburg Mountains where most of the movie would be shot with some additional location filming in and around the province of Natal and the Royal Natal National Park. For the Zulu warriors, Baker recruited more than 700 extras, many of them descendants of the actual men who fought in the Anglo-Zulu War. He even cast the current tribal leader of the Zulu nation, Chief Mangosuthu Buthelezi, in the role of his famous predecessor, Cetshwayo. Even with 700 Zulu extras, however, Baker had to figure out how to make them appear to be 4,000 strong and resorted to camera tricks and creating "fake Zulus" which you can spot if you look carefully at the hilltop scenes.

The Zulu extras, who wore their own colorful war costumes for the film, presented a challenge to Baker and Endfield because they had never acted before a camera or even seen a movie. Caine recalled that "Cy set up a screen and a sixteen-millimetre projector and they all gathered to watch and see what they were supposed to be doing. The film was an old Roy Rogers western [some sources claim it was a Gene Autry western], and when it first came on there was a gasp from everybody at the wonder of it. As the film progressed they quickly settled down and almost immediately started jeering at anything that looked ridiculous and shouting lines in Zulu that I am sure were "Look out! He's behind you!" when the villain crept up on Roy...The biggest laugh came when Roy sang as he rode along. They obviously could not understand why a man would want to sing riding a horse alone on a prairie, and were puzzled about where the music was coming from. But after ten minutes they figured it out and their reaction was the same as anyone else's would have been."

For the massive battle sequences that comprise the second half of Zulu, Endfield consulted with the tribal historian, a princess from Chief Buthelezi's clan. Because Zulus have no written history, everything is passed down in the oral tradition. As a result, the Zulu consultant demonstrated to Endfield, drawing in the sand with sticks, the movement and battle formations of the Zulus at Rorke's Drift. He worked these details into the film, giving it an authenticity and excitement rarely equaled in other war movies. In particular, the scene when the Zulu forces numbering 4,000 suddenly appear on the ridge, their arrival preceded by their ominous war chant which sounds like an approaching train, is particularly unforgettable.

Despite an arduous three-month shoot in South Africa, the filming of Zulu went rather smoothly except for one incident involving a white foreman on the set who became too intimate with some of the African women. The apartheid laws in South Africa at this time were extremely harsh and the penalty for interracial sex was seven years hard labor. Caine remembered the incident in his autobiography, What's It All About?: "The helicopters landed and several policemen got out. The leader demanded to know who was in charge. Stanley stepped forward. Apparently our Cockney had gone a little more native than we all thought. He had moved out of the hotel into a mud hut, and had taken with him three Zulu wives. The policeman told Stanley that the man was under arrest. Later on we realised that one of our white Afrikaans foremen was in fact a police spy, placed with us for this purpose. Worst of all, the policeman told Stanley that the production was closed down and we would have to leave the country. Stanley went to work on him immediately and after much argument they made a deal: the unit could stay, provided that Stanley guaranteed to get the criminal out of the country by midnight. Now I realised that apartheid was not a personal prejudice but a government-sponsored form of civil terrorism. I vowed there and then never to return to that country until they changed the system, and to this day, I haven't." The added kicker to all of this was that the Zulu actors in the film were not allowed to attend Zulu's South African premiere because of the strict segregation laws.

As in most historical films, certain liberties are taken with the facts and Zulu was no exception although it was in the characterizations, and not the battle scenes, that these changes were made. For example, Reverend Witt is portrayed as a drunk in the film and Hook is depicted as a surly malcontent - both distortions of the actual people. Lieutenant Bromhead, who was in reality extremely deaf and a rigid authority figure, was originally conceived as a pompous, upper-class twit. Caine, however, convinced Baker and Endfield to let him play Bromhead differently, starting with an arrogant attitude and slowly humanizing him by degrees, thus avoiding the stereotypical view of the elite Victorian officer. As a result, Caine's performance was singled out for praise by many reviewers when Zulu opened theatrically and was instrumental in advancing the actor from supporting to starring roles. His next feature would be the lead, playing counter espionage agent Harry Palmer in The Ipcress File (1965).

The release of Zulu in June of 1964 in the U.S. coincided with a tense period between Whites and African-Americans just prior to the Civil Rights Act of 1964 which was passed in July. Because of this, many American reviewers' opinion of the film was colored by racial issues and responded to it quite differently than British audiences. Bosley Crowther of The New York Times wrote, "With so much racial tension and anticolonial discord in the world, a film on the order of "Zulu" seems strangely archaic and indiscreet...if you're not too squeamish at the sight of slaughter and blood and can keep your mind fixed on the notion that there was something heroic and strong about British colonial expansion in the 19th century, you may find a great deal of excitement in this robustly Kiplingesque film." And Crowther certainly had a valid point when he asked "Is it a contribution to the cause of harmony to show so much vicious acrimony between black men and white...to make an exciting thing of firing rifles into the faces of charging warriors and sticking bayonets into them?" It's true Zulu would be a stronger film if it offered a Zulu point of view as well along with a few strongly developed characters to match their British counterparts. In addition, the opening and closing narration by Richard Burton never addresses the real reason for the Zulus' attack which was Britain's aggressive colonialist agenda, leading them to invade and conquer countries they felt was their divine right to govern. Yet, even divorced from the topical controversy of the year it was released, Zulu remains an impressive historical epic, brimming with superbly choreographed action sequences and stunning South African locales.

Despite Cy Endfield's skillfully paced direction, impressive performances by the leading players, and John Barry's evocative score, Zulu was largely ignored when it came to film honors. It received no Oscar® nominations but it did receive one nomination from the British Academy of Film and Television Arts (BAFTA) for Best Colour Art Direction (by Ernest Archer). Cy Endfield would later return to this same chapter in British history for Zulu Dawn (1979), for which he wrote the screenplay which was based on the Zulus' victory over the British at Isandlwana just prior to the Rorke's Drift incident.

Producers: Stanley Baker, Cy Endfield
Director: Cy Endfield
Screenplay: Cy Endfield, John Prebble (and article too)
Cinematography: Stephen Dade
Art Direction: Ernest Archer
Music: John Barry
Film Editing: John Jympson
Cast: Stanley Baker (Lt. John Chard), Jack Hawkins (Rev. Otto Witt), Ulla Jacobsson (Margareta Witt), James Booth (Pte. Henry Hook), Michael Caine (Lt. Gonville Bromhead), Nigel Green (Colour Sgt. Frank Bourne).
C-135m. Letterboxed. Closed captioning.

by Jeff Stafford

SOURCES:
Michael Caine: What's It All About?
Michael Caine Acting in Film: An Actor's Take on Movie Making
rorkesdriftvc.com
afi.com
IMDB

Zulu

In January 1879 British forces invaded KwaZulu in South Africa in an effort to confederate the territory under the rule of Governor-General Sir Henry Bartle Edward Frere. The Zulu populace refused to accept this edict and retaliated with an attack on British forces at Isandlwana on January 22nd, killing more than 1300 soldiers. Later that same day more than four thousand Zulu warriors advanced on Rorke's Drift, a British missionary station in Natal protected by a small army of 139 soldiers. Over a two day period, the Zulus attacked the garrison in waves, incurring huge losses as they were constantly driven back by the intractable British defense. Exhausted and fearing the worst, the surviving British troops were stunned when the Zulus decided to retreat at dawn, saluting them for their bravery before they departed. Later nine men from the garrison were awarded the prestigious Victoria Cross, the most ever awarded to one regiment for valor in a single battle. Besides its importance in British military history, the Defense of Rorke's Drift is a prime example of the supreme effectiveness of Western military practices and procedures. It was inevitable that such a momentous event in British history would be brought to the screen and in the early sixties, actor Stanley Baker, whose popularity was at its height, proposed an epic re-enactment of the Rorke's Drift incident as the first project of his newly created production company, Diamond Films. Thanks to producer Joseph E. Levine, who agreed to back any movie Baker wanted to make, the actor was able to go forward with Zulu (1964), working from a screenplay by historical writer John Prebble with contributions by blacklisted American screenwriter Cy Endfield, who was also tapped to direct. Endfield first worked with Baker on Child in the House in 1956 and after that the two men collaborated on five more films together, culminating in their final venture, Sands of the Kalahari, in 1965. Baker's interest in Zulu, however, wasn't purely to pay tribute to the bravery of both the British officers and the Zulu warriors who clashed at Rorke's Drift but to accent the fact that most of the defending soldiers at the outpost were Welsh like himself, a fact he took great pride in. And among the many players in this historical drama, three stand out among the rest, Lt. Chard, Private Henry Hook and Lt. Gonville Bromhead, all based on the actual people. At one point, the Rev. Witt, also based on a real person, played a bigger part in the story but his role was reduced during editing (to the great disappointment of actor Jack Hawkins.) Baker cast himself as Chard and James Booth played the cynical petty thief Private Hook who spends most of the story being treated for boils and other ailments in the makeshift infirmary. Michael Caine, who at this point in his career was still an unknown bit player, was cast as Bromhead, after losing the part of Hook to Booth. The actor recalled in Michael Caine: Acting in Film that "since I was tall and fair, I apparently looked like a posh Englishman, and the director, Cy Endfield, asked if I could do an upper-class accent. I switched quickly to Etonian and said, "Why, Mr. Endfield, I've been doing it for years." He had me do a screen test, during which I showed my absolute terror. He came up to me at a party the following night, after ignoring me most of the evening, and said, "That was the worst damn screen test I ever saw in my life." I thought, okay, so I haven't got it. "But," he continued, "you've got the part because we're leaving on Monday and we can't find anybody else." After Baker and his England based cast and crew arrived in South Africa they set up camp near the Drakensburg Mountains where most of the movie would be shot with some additional location filming in and around the province of Natal and the Royal Natal National Park. For the Zulu warriors, Baker recruited more than 700 extras, many of them descendants of the actual men who fought in the Anglo-Zulu War. He even cast the current tribal leader of the Zulu nation, Chief Mangosuthu Buthelezi, in the role of his famous predecessor, Cetshwayo. Even with 700 Zulu extras, however, Baker had to figure out how to make them appear to be 4,000 strong and resorted to camera tricks and creating "fake Zulus" which you can spot if you look carefully at the hilltop scenes. The Zulu extras, who wore their own colorful war costumes for the film, presented a challenge to Baker and Endfield because they had never acted before a camera or even seen a movie. Caine recalled that "Cy set up a screen and a sixteen-millimetre projector and they all gathered to watch and see what they were supposed to be doing. The film was an old Roy Rogers western [some sources claim it was a Gene Autry western], and when it first came on there was a gasp from everybody at the wonder of it. As the film progressed they quickly settled down and almost immediately started jeering at anything that looked ridiculous and shouting lines in Zulu that I am sure were "Look out! He's behind you!" when the villain crept up on Roy...The biggest laugh came when Roy sang as he rode along. They obviously could not understand why a man would want to sing riding a horse alone on a prairie, and were puzzled about where the music was coming from. But after ten minutes they figured it out and their reaction was the same as anyone else's would have been." For the massive battle sequences that comprise the second half of Zulu, Endfield consulted with the tribal historian, a princess from Chief Buthelezi's clan. Because Zulus have no written history, everything is passed down in the oral tradition. As a result, the Zulu consultant demonstrated to Endfield, drawing in the sand with sticks, the movement and battle formations of the Zulus at Rorke's Drift. He worked these details into the film, giving it an authenticity and excitement rarely equaled in other war movies. In particular, the scene when the Zulu forces numbering 4,000 suddenly appear on the ridge, their arrival preceded by their ominous war chant which sounds like an approaching train, is particularly unforgettable. Despite an arduous three-month shoot in South Africa, the filming of Zulu went rather smoothly except for one incident involving a white foreman on the set who became too intimate with some of the African women. The apartheid laws in South Africa at this time were extremely harsh and the penalty for interracial sex was seven years hard labor. Caine remembered the incident in his autobiography, What's It All About?: "The helicopters landed and several policemen got out. The leader demanded to know who was in charge. Stanley stepped forward. Apparently our Cockney had gone a little more native than we all thought. He had moved out of the hotel into a mud hut, and had taken with him three Zulu wives. The policeman told Stanley that the man was under arrest. Later on we realised that one of our white Afrikaans foremen was in fact a police spy, placed with us for this purpose. Worst of all, the policeman told Stanley that the production was closed down and we would have to leave the country. Stanley went to work on him immediately and after much argument they made a deal: the unit could stay, provided that Stanley guaranteed to get the criminal out of the country by midnight. Now I realised that apartheid was not a personal prejudice but a government-sponsored form of civil terrorism. I vowed there and then never to return to that country until they changed the system, and to this day, I haven't." The added kicker to all of this was that the Zulu actors in the film were not allowed to attend Zulu's South African premiere because of the strict segregation laws. As in most historical films, certain liberties are taken with the facts and Zulu was no exception although it was in the characterizations, and not the battle scenes, that these changes were made. For example, Reverend Witt is portrayed as a drunk in the film and Hook is depicted as a surly malcontent - both distortions of the actual people. Lieutenant Bromhead, who was in reality extremely deaf and a rigid authority figure, was originally conceived as a pompous, upper-class twit. Caine, however, convinced Baker and Endfield to let him play Bromhead differently, starting with an arrogant attitude and slowly humanizing him by degrees, thus avoiding the stereotypical view of the elite Victorian officer. As a result, Caine's performance was singled out for praise by many reviewers when Zulu opened theatrically and was instrumental in advancing the actor from supporting to starring roles. His next feature would be the lead, playing counter espionage agent Harry Palmer in The Ipcress File (1965). The release of Zulu in June of 1964 in the U.S. coincided with a tense period between Whites and African-Americans just prior to the Civil Rights Act of 1964 which was passed in July. Because of this, many American reviewers' opinion of the film was colored by racial issues and responded to it quite differently than British audiences. Bosley Crowther of The New York Times wrote, "With so much racial tension and anticolonial discord in the world, a film on the order of "Zulu" seems strangely archaic and indiscreet...if you're not too squeamish at the sight of slaughter and blood and can keep your mind fixed on the notion that there was something heroic and strong about British colonial expansion in the 19th century, you may find a great deal of excitement in this robustly Kiplingesque film." And Crowther certainly had a valid point when he asked "Is it a contribution to the cause of harmony to show so much vicious acrimony between black men and white...to make an exciting thing of firing rifles into the faces of charging warriors and sticking bayonets into them?" It's true Zulu would be a stronger film if it offered a Zulu point of view as well along with a few strongly developed characters to match their British counterparts. In addition, the opening and closing narration by Richard Burton never addresses the real reason for the Zulus' attack which was Britain's aggressive colonialist agenda, leading them to invade and conquer countries they felt was their divine right to govern. Yet, even divorced from the topical controversy of the year it was released, Zulu remains an impressive historical epic, brimming with superbly choreographed action sequences and stunning South African locales. Despite Cy Endfield's skillfully paced direction, impressive performances by the leading players, and John Barry's evocative score, Zulu was largely ignored when it came to film honors. It received no Oscar® nominations but it did receive one nomination from the British Academy of Film and Television Arts (BAFTA) for Best Colour Art Direction (by Ernest Archer). Cy Endfield would later return to this same chapter in British history for Zulu Dawn (1979), for which he wrote the screenplay which was based on the Zulus' victory over the British at Isandlwana just prior to the Rorke's Drift incident. Producers: Stanley Baker, Cy Endfield Director: Cy Endfield Screenplay: Cy Endfield, John Prebble (and article too) Cinematography: Stephen Dade Art Direction: Ernest Archer Music: John Barry Film Editing: John Jympson Cast: Stanley Baker (Lt. John Chard), Jack Hawkins (Rev. Otto Witt), Ulla Jacobsson (Margareta Witt), James Booth (Pte. Henry Hook), Michael Caine (Lt. Gonville Bromhead), Nigel Green (Colour Sgt. Frank Bourne). C-135m. Letterboxed. Closed captioning. by Jeff Stafford SOURCES: Michael Caine: What's It All About? Michael Caine Acting in Film: An Actor's Take on Movie Making rorkesdriftvc.com afi.com IMDB

Quotes

The army doesn't like more than one disaster in a day.
- Lieutenant John Chard
Looks bad in the newspapers and upsets civilians at their breakfast.
- Bromhead
A prayer's as good as bayonet on a day like this.
- Colour Sergeant Bourne
I came here to build a bridge.
- Lieutenant John Chard
Why us? Why does it have to be us?
- Private
Because we're here lad.
- Colour Sergeant Bourne
1,000 British soldiers have been massacred. While I stood here talking peace, a war has started.
- Reverend Otto Witt

Trivia

This was Michael Caine's first major film role. He watched the rushes, but was so nervous that he was sick, and never watched rushes again.

Caine visited the officers' mess of the Scots Guards at Pirbright to perfect his accent.

Welsh-born Stanley Baker was determined to make this film. Unable to find finance, he sunk most of his own money into the project.

Because the Zulus who were playing the extras in the film had never seen a movie, Stanley Baker held an outdoor screening of a 'Autry, Gene' movie for them so they would have an idea of what movies were all about.

The opening and closing narration is read by Richard Burton.

Notes

Location scenes filmed in Natal National Park. Opened in London in January 1964; running time: 135 min.

Miscellaneous Notes

Released in United States Winter January 1, 1964

Released in USA on video.

Joseph E Levine's first British production.

Super Technirama 70

Released in United States Winter January 1, 1964