Let me preface this by saying I'm not advocating a political position, just critiquing the events of this movie through the lens of effective storytelling and human nature. I found it hard to believe in or root for this Harry, who is both written and acted weakly.
Contrary to one other review, this is NOT the story of "a guy torn between love and duty". All Harry's loved ones (including the girl for whom he's ostensibly staying behind) are unanimously on the side of duty. He isn't a philosophical or religious pacifist, admirer of the native culture, or Muslim convert. He doesn't fail or chafe at soldier tasks; he excels at them (not just on the drillfield, but later when he kills without pause). Favorable reviewers make much of him getting out from under his father's thumb, though he has no discernable passion of his own (business, politics, charity) and seems quite content continuing to reap the bounty of his military-aristocratic family without working for it. In summary, there is no conflict - just a bowl-haired, self-indulgent Me Generation kid whining "But I don't wanna!" The closest he gets to voicing "his side" is when he snickers about "planting a flag for the Empire" - not a principled denunciation of imperialism, mind you, just the ridicule of a punk who thinks everything "They" teach was put on this Earth for his amusement. Very 70s, very "M.A.S.H." - but not the least bit believably Victorian.
He changes his mind overnight, reemphasizing that there's no principled stand and it's all because he's more scared of the feathers than he was of the war. That, and the fact that he shadows his own regiment, also makes the whole "gone native" plot to regain his honor (as opposed to just rejoining the Army) contrived and pointless - as opposed to other versions where he infiltrates the enemy, etc.
The battle scene is also contrived: Harry wants to warn the Brits, who are about to be ambushed. "But you'd have to ride through all the Dervishes!" Simply firing a shot before they closed their trap would have accomplished the same result, possibly also confusing the attackers, rather than pointlessly getting shot down immediately (albeit recovering a minute later, because he's the main character!).
Does Harry's shame at least inspire growth? He succeeds in his quest, mostly through the aid of faithful guide Abou Fatma (the real hero), who ends up accomplishing 90% of "Harry's" tasks. As if to emphasize Harry's unreformed spinelessness, he drifts in and out of consciousness after a few hours in prison, while Capt. Trench (who's "been standing up for seven months", starved and tortured) is lucid and sitting upright.
Love story? Jane Seymour hates herself for rejecting the man who scorned their supposedly shared values (though not because he had any of his own).
Period details vary from bogus to superb. Robert Powell excels (as always) as a somewhat complex character who wavers amid loss and temptation, but finds his honor in the end.
Contrary to one other review, this is NOT the story of "a guy torn between love and duty". All Harry's loved ones (including the girl for whom he's ostensibly staying behind) are unanimously on the side of duty. He isn't a philosophical or religious pacifist, admirer of the native culture, or Muslim convert. He doesn't fail or chafe at soldier tasks; he excels at them (not just on the drillfield, but later when he kills without pause). Favorable reviewers make much of him getting out from under his father's thumb, though he has no discernable passion of his own (business, politics, charity) and seems quite content continuing to reap the bounty of his military-aristocratic family without working for it. In summary, there is no conflict - just a bowl-haired, self-indulgent Me Generation kid whining "But I don't wanna!" The closest he gets to voicing "his side" is when he snickers about "planting a flag for the Empire" - not a principled denunciation of imperialism, mind you, just the ridicule of a punk who thinks everything "They" teach was put on this Earth for his amusement. Very 70s, very "M.A.S.H." - but not the least bit believably Victorian.
He changes his mind overnight, reemphasizing that there's no principled stand and it's all because he's more scared of the feathers than he was of the war. That, and the fact that he shadows his own regiment, also makes the whole "gone native" plot to regain his honor (as opposed to just rejoining the Army) contrived and pointless - as opposed to other versions where he infiltrates the enemy, etc.
The battle scene is also contrived: Harry wants to warn the Brits, who are about to be ambushed. "But you'd have to ride through all the Dervishes!" Simply firing a shot before they closed their trap would have accomplished the same result, possibly also confusing the attackers, rather than pointlessly getting shot down immediately (albeit recovering a minute later, because he's the main character!).
Does Harry's shame at least inspire growth? He succeeds in his quest, mostly through the aid of faithful guide Abou Fatma (the real hero), who ends up accomplishing 90% of "Harry's" tasks. As if to emphasize Harry's unreformed spinelessness, he drifts in and out of consciousness after a few hours in prison, while Capt. Trench (who's "been standing up for seven months", starved and tortured) is lucid and sitting upright.
Love story? Jane Seymour hates herself for rejecting the man who scorned their supposedly shared values (though not because he had any of his own).
Period details vary from bogus to superb. Robert Powell excels (as always) as a somewhat complex character who wavers amid loss and temptation, but finds his honor in the end.