Customer Reviews

The Charge of the Light Brigade

5 star:		(16)
4 star:		(12)
3 star:		(14)
2 star:		(5)
1 star:		(7)

 

 

Tony Richardson's 1968 satire of Victorian imperialism set during the Crimean War of 1854-1855. A clever film with subtle humor that is very rich in covering the details of Victorian society such as clothing, mannerisms, class structure, institutions, etc. Although it has somewhat of an uneven plot with strange editing, this film is very well acted with beautiful cinematography.

The film is primarily a satirical tragedy as opposed to being an action-drama typical of your standard war films such as 'Saving Private Ryan' for example. The film therefore mostly focuses on the characters' development within their social ranks, how they interact with each other, and what effect their interactions have on society or on them collectively. The film follows the central character, Captain Lewis Edward Nolan of the 15th Hussars. Nolan is a historical character who was a veteran of the wars in India and on very bad terms with his commander, Lord Cardigan (Howard), a boorish man with little concern for his suboordinates. Captain Nolan is also best friends with Mr. Richardson (Mark Burns) and, unfortunately, more than best friends with Mrs. Richardson(Vanessa Redgrave.) Both Nolan and Richardson are longing to see some action with their cavalry regiment and their wishes are soon fulfilled when war breaks out with Russia. Under the command of Earl Lucan and Cardigan (who both hate each other immensely), they are shipped off to the Crimea to join the French and the Turks against the Russians.

Again, the title of the film is somewhat deceptive as the legendary charge of the light brigade takes up but the last 15 minutes of the 2+ hour film. Interestingly enough, the duration of the film battle sequence is about the same length as the actual charge: less than 20 minutes. The film is pretty accurate as to the battle but omits the details of the first engagements that took place on October 25, 1854, at the battle of Balaklava. The film does show how the ill prepared British and allied forces were driven back from the Causeway Heights by the Russians and how their canons were taken. The film also shows how Lord Raglan (John Gielgud) issued a rather ambiguous order to recouperate the 'Russian guns' without saying which ones. As such, the Light Brigade headed directly through the North valley towards the furthest Russian gun emplacements to the East as opposed to charging towards the nearest gun emplacements to the South-East on the Causeway Heights. This meant an extended charge through a valley in which the enemy commanded three sides with artillery, infantry, and cavalry contingents. Although the brigade succeeded in dislodging the artillery and routing the Russian cavalry, their numbers were too few to capitalize on their gains: they instead withdrew back to their original positions in an ordered fashion. Starting with approximately 600 men, they returned with only about 200 men. Despite the blunder, their mad charge was undertaken with such order and discipline that, for the rest of the Crimean War, the Russians would often refuse to fight the British cavalry even when they had a significant numerical superiority.

In sum, this film is primarily a social and political satire on Victorian England. A viewer would probably have more of an appreciation for this film if he/she's familiar with the social and political norms of that period. This is not a war film per se as most of the plot unfolds in the peaceful and stuffy surroundings of Victorian London. I agree with the other reviewers that the animated political cartoons are a little overdone. The humor in this film being so subtle, the animation serves to expressly remind the audience that the film is more a satire and not a true drama. Overall a good satirical drama with excellent cinematography and great acting.

I remember the day I stopped reading the New York Times, and also realized that most film revivers did NOT have a clue... and thats when I read the review for Tony Richardsons Charge Of The Light Brigade. The Times Reviewer, a first stage imbecile went on and on about "how Richardson could have made such a glorification of war during the height of the View Nam conflict!" Was this man blind, or did he just sit in some bar drinking his lunch while the film was screen? For Light Brigade is perhaps the greatest ANTI-WAR movie ever made! I could go on for pages about this movie. One of the most amazing aspects is Charles Woodss screenplay. It is without a doubt the greatest piece of film writing ever. Now thats a big statement but I promise you its not an exaggeration. From the very first speech of Trevor Howard, through scene after scene of perfect craftsmanship and dialogue, you are bombarded with a sumptuous love affair of the English language. Add to that one of the most opulently shot period movies this side of Barry Lyndon, and the most amazing animation sequences by Richard Williams (and for the love of God if you still think this is a pro war movie after those sequences, you really need to be locked away for your own safety!) and you have a cinema treat the likes of which you will find hard pressed to see anywhere else. From the first bars of John Addisons quirky emotionally charged, purposely overly blown score, to Williams animated lions roar to the last staggering image of the decapitated horses, silently rotting away in the Valley of Death, as only the sounds of flies can be heard you realize you are watching greatest. You also realize you are watching history the way it really was. Never before or since has anyone dramatized blunders of great men so magnificently. The parallels to todays world (and leaders) are terrifyingly accurate and prophetic! This is a movie that doesnt age gracefully, it ages with an explosive charge a pressure cooker of artistic brilliance, that once uncapped, erupts in your face, grabs hold and doesnt let go until the last credit. Tragically, this movie was way ahead of its time, and has never been given its right dues. Long before the computer generated tension of Private Ryan Richardson and crew created a scene of battle terror that digs deep into your soul and is never forgotten. This is a movie you feel, and smell and taste. From the heat of the Turkish plains, to the stench of the English ships, to the flesh ripping sting of a whipping Light Brigade is truly in a class of its own. The balance of terror, humor, intrigue and human courage and waste there is no equal. The only one who blundered in this movie was the distributor who ignored it, and the vapid reviewers without a brain, who didnt realize what they were seeing. But you can rent or buy this masterpiece and see why I for one, fell in love with both the cinema, and the word.

Following closely on the heels of ZULU (1965), THE CHARGE OF THE LIGHT BRIGADE (1968) ushered in an era of unparalleled brilliance in war movie-making. Anyone who has read Tennyson's poem of the same name, or read John Harris' book THE GALLANT SIX HUNDRED will appreciate this film for its depiction of both the battle and of British Army life at the time. The technical detail is impeccable and, despite the obvious use of satire, the film is remarkably true to history. It vividly portrays the contrasting social circumstances of the officers and the rank and file soldiers, and the inextricable bond between them. The officers genuinely believed they had been born to lead and the soldiers followed them unquestioningly because of their personal courage and example rather than any demonstrated skill in the art of war. The courage, endurance and stoicism of the British soldier in the field is accurately rendered, carefully maintaining the simple dignity of those who were most responsible for the spread of Empire throughout the world. Everything else in the film obviously leads to the grand finale, the magnificently futile charge up the valley into the face of the Russian guns. The filming and choreography are amazing, replete with small details that have been recorded elsewhere through survivor interviews and the memoires of witnesses and participants. This is a MUST see for anyone interested in military history, or just epic war movies.

Tony Richardson's classic Charge of the Light Brigade is a definitive version of the most famous military blunder of Britains military history. Closely drawn from Cecil Woodham-Smith's "The Reason Why", it is a perfect social and military analysis of the military and officer class structures, and a darkly amusing parody of the political forces which motivated Britain to the Crimean War. Satirical animated sequences drawn from the political cartoons from the contemporary nineteenth century "Punch" magazine are used to close one act and open another throughout the movie - a highly entertaining and unique feature in cinema. The casting is superb, particularly Harry Andrews as Lord Lucan and Trevor Howard as Lord Cardigan. Outstanding performances are given by all - Sir John Gielgud as Lord Raglan and of course David Hemmings as Captain Nolan, the tragic anti-hero and oneof the prime suspects in the commission of enquiry into who was to blame.

Technically I find the movie flawless. The uniforms were all designed for the movie and the wide-screen DVD format shows the scale of production to wonderful effect. The guns recoil properly as if they were actually being fired and the obscuring smoke of the battle at Alma are shown to true effect. Some films are done right and others not. If you had problems with the battle scenes and staging of "The Patriot" but thought that "Last of the Mohicans" got it right, then you can be assured that this movie, being more like the latter then the former, got it right.

I believe that no one will make another version, nor ought to. This account of the Crimean campaign and Balaclava will never be bettered and will stand the test of time as the truly definative work on the subject. I have long loved this movie and was never more happy to view it in the full screen format. This film is intelligent, and what's more, it treats its audience as if we are intelligent also - no Hollywood insults to be found in this sound English movie. I highly recommend it to collectors with a taste for classic military drama and to the historical buffs.

"They will not fight unless they are flogged to it. Would you ask that of them? Would you ask they fight like fiends of Hell for money? Or h'ideas? That would be unchristian."

The Charge of the Light Brigade is one of those films that disappointed me on a first viewing (like many, I was expecting an epic adventure film) but which I love more each time I see it.

Charles Wood's delicious use of language makes the dialog a joy to listen to, and for the most part the performances do it justice - not just the likes of Trevor Howard, Harry Andrews and John Gielgud's delightfully vague Lord Raglan, but also the smaller roles like Norman Rossington's broken Sergeant and Alan Dobie's impoverished officer Mogg, who makes up in jovial and ignorant arrogance what he lacks in wit. It's an astonishingly ambitious film, and for the most part succeeds, painting a portrait not just of a time and place but a whole state of mind - it's not just the bungles of the Crimean War and the casual cruelty of the army in Richardson's sights but the blind stupidity of Britain's entire Victorian class system.

The film is even brave enough to have its nominal hero, David Hemmings' Captain Nolan, be as inadvertently unsympathetic as the superiors he rails against - he might seem more enlightened, but he'll still thoughtlessly finish off his men's breakfast (in one of several scenes cut for this DVD) or push away a wounded soldier. As careless with his men as Raglan is, you can see his point when he dreads the day when professional soldiers like Nolan will run a modern army - "It will be a sad day for England when her armies are led by men who know too well what they are doing- it smacks of murder."

Perhaps it's that lack of someone to root for that helped kill the film at the box-office (along with Richardson's refusal to have press screenings because he felt critics were not intelligent enough to appreciate the film), but I'd still love to see the four-hour rough cut footage emerge from its prison in the BFI's vaults some day. Several stills exist of deleted scenes (such as Cardigan's encounter with Russian troops on his return from the charge: they let him go in respect of his rank in reality) and although his part as a Russian Prince was otherwise completely cut, Laurence Harvey can still be briefly glimpsed in the theatre scene (along with Donald Wolfit playing MacBeth).

What gaps were left by the cuts and budget restrictions (not that the film isn't genuinely spectacular) are admirably filled in by Richard Williams stunningly imaginative and witty animation - old woodcut prints come to life as the British lion puts on his policeman's helmet to stop Russia assaulting Turkey - and John Addison's magnificent score. Amazingly, the pity of it all is not lost under the wit, with the starkest of endings as the generals argue over whose fault it is while flies buzz around dead horses. A truly great film.

Sadly, this is not a great DVD.

The transfer is for the most part fine, but the animation sequences and the all but unreadable credits do suffer. What really disappoints is the fact that, like the previous laserdisc issue, this is a heavily cut version missing some 6-7 minutes. The ommission of Vanessa Redgrave's horrendous singing may be a merciful release, but the ommission of a reel from the Crimea scenes (including the flogging scene of a sentry who inadvertently shot at Raglan and Cardigan subsequently rewarding the flogged man for his bravery) are definitely not. The only extra is a trailer.

Sadly, it appears that despite releasing a video of the longer version (minus a few seconds of vicious horsefalls), the BFI's R2 DVD is the same cut version, albeit with slightly better extras (an interview with Richard Williams and a silent version of the Charge). Very disappointing.

Simply put, this has got to be one of 'the' best big screen dramatisations of war in the Victorian era. It knocks spots off Zulu (how can you even think of depicting Chard and Bromhead without their characteristic handlebar moustaches? )

The casting is superb. Gielgud is brilliant as the well-meaning but ineffectual & absent-minded Commander-In-Chief, Lord Raglan. Harry Andrews glowers and booms as Lord "Look-On", Lieutenant General of the Cavalry Division. Trevor Howard "is" the irrascible Lord Cardigan (quote of the month about his "cherry bums": "If they can't fornicate they can't fight, and if they can't fight I'll flog their backsides raw for all their fine looks!")David Hemmings provides the requisite "dash and fire" as the ill-fated Nolan.

This movie is very clever, setting the scene in England first by illustrating the differences between the genteel and idle lives of the officers and the sordid lives of the common troopers. There is also an interesting sub-plot to do with the breaking to the ranks of a Sergeant Major.

The depiction of military folly, absurd rivalries and infighting amongst Raglan's senior officers, sickness and disease whilst campaigning and of course such battle sequences as the taking of the river Alma, really make this movie. It's marred only by some very stupid sub plots concerning Lord Cardigan's supposed affair with Mrs. Duberly, as well as Hemming's own adulterous affair with the Vanessa Redgrave character, which - aside from illustrating some obscure point about Victorian morality & sexual repression - I couldn't figure out what was the point!

The sequences of the actual charge "into the valley of death" could have been dealt with better and the film comes to a strange and abrupt ending right afterwards. However, minor quibbles aside, as a military history buff I was impressed by how accurate the film-maker attempted to be when depicting the sequence of events, from the heart-failure of the French commander, to Ragland's insistence on husbanding his cavalry brigades to the derision of the rest of the army, to the refusal of Sir Colin Campbell to form his men up shortly before the battle of Balaclava.

And who could forget the splendid Victorian cartoon animated sequences!

They really ought to make a movie of Flashman At The Charge next, I think.

As a boy, I thrilled to the 1939 film with Errol Flynn and I read Tennyson's "Charge of the Light Brigade" in class. As an adult, I studied the history of the Crimean War (along with other history). I don't know how I missed this film until now.

More accurate by far than the 1939 film, this film examines the claim that glory can be extracted from a series of blunders, incompetences and personality conflicts in the field. Supported by a wonderful caste playing their roles imppecably, this 1968 remake is devoid of the romance or righteousness of the 1939 film. I still love the old one, but more for it's romance than accurracy. This remake does the exact opposite of the Flynn/de Haviland film. Romance is represented here by a desolate one night stand between Cardigan and one of his subbordinate officer's wives who plays the part of an empty headed beast, hungry for a thrill to the point of bloodthirstiness against Trevor Howard's parody of Cardigan as a ridiculous lover/cavalier.

The cartoons are interesting in their style and meaning and their use here causes me to wonder if Monty Python was inspired by their use in this film as it criticizes the ideas of empire and glory. This is a film that could have only emerged from the compost of the Viet-Nam era. I wonder how it was received in England since it criticizes all the old ideas of Empire, Queen, country and British chauvanism. I wonder how much it contributed to the growth of permanent anti-war culture in Britain? I'd love to read a review of this film from 1968.

Few films that claim to be historically based are actually very factual. There are only a few questionable incidents here. I am not sure if the note was written inacurrately, but according to this film, Raglan only ordered an andvance with support that he wasn't sure was there and only assumed Lucan would understand the intention to flank the guns not charge them. This film lays nearly the entire disaster on a Captain Norlan's head. Noland seems to have understood the intention to flank the guns but after goading his superior officers into a straight on charge, seems to have a change of heart once he sees the devastating reality of their course. He charges up and hysterically tries to force Cardigan to ride up the valley he seemed to know Raglan intended. One strength of this film is that it creates a question as to whether anyone attempted to prompt the orders on the field. Captain Noland was either a loose cannon or a scapgoat - we may never know. A good historic film should have this effect - to inspire the acquisition of more historical knowledge.

As for the charge itself, it is done as it should be, with no soundtract so that the viewer may experience the event without any other emotional support. My only complaint is that the retreat was also fired upon and the impression is given here that once the cannon lines were reached all firing by the Russians ceased. Russian calvary did charge in once the guns were breached, but the Brigade was fired upon as it withdrew and the Russians did not pursue. Cardigan is unscathed, but little account is given the viewer as to how that luck transpired. A small group that held to him did reach the guns and retreat out. He must have ultimately been protected by the press of his own men around him. I think the charge itself should have lasted longer since the this is the climax and the film's title. A lot more story could have been portrayed such as Cardigan's ride and the 670 horses and men filmed represented more fully. Think of the effect of a charge that goes on and on to the point that the audience feels that there is no escape.

Ultimately, this is an anti-war film and no surprise here. Perhaps it is a bit exaggerated in some of its scenes, but the point is well made. War is hell and not entertainment as the horrified spectators attending this expedition find. That scene, of the sobering of those who revile in the excitment of war, is well done. Still, the mystery of glory survives. The few men left on their feet volunteer to "go again" prompting Cardigan's gallant understated reply, "No,no, you've done enough today."

A great depiction of the opening stages of the Crimean War and the infamous Charge. Steady acting from Hemmings, and a shinning performance from Trevor Howard, both quality British actors.

However for me the films animations made the picture complete, they add depth, meaning and importantly help to bridge the gaps. They depict both the British publics image of a heroic British Campaign against a tyranical Russia, and also the later realisation that war is far from glorious.

Richardsons version improves on almost every apect of the earlier picture staring Errol Flynn, which is seriously inaccurate. Put simply, Richardsons version is perhaps as close to the truth as is possible and in my opinion puts the earlier film to shame.

This is a well done and creative movie. Frankly, I had expected it to play fast and loose with the history of this Victorian military catastrophe in order to make an anti-war statement since 1968 was the height of the Vietnam War and the anti-establishment culture was in full flower. However, this movie treats the story with seriousness while using beautiful pictures and some wonderfully creative animation that helps evoke the times and move some aspects of the plot along.

The animation is in the style of Victorian political cartoons and those that were used in newspaper advertisements of the time. The animation used by Monty Python to segue between sketches is very close. It is used to illustrate the masses being urged to a passion for war against the Russians over Turkey, to show the character of some of the officers, and to pierce the bubble of Victorian public respectability.

Most of the movie sets up the characters and showing us how life was in 1854. We learn about the Empire's military was really a collection of private units that were funded by wealthy Peers to the Realm and led by them regardless of their ability. It was not nearly professional in the modern sense and that point is made several times by Captain Nolan (this is likely put on the character rather than being something held by the actual person).

We see how the soldiers were recruited, trained, brutally disciplined, and the pettiness of certain high officers and their celebrity. We follow the army to Turkey where the action described by Tennyson actually takes place. The actual Charge of the Light Brigade actually happens in the last act and is, as Tennyson said, the result of multiple blunders. The finest horsemen of the realm were ordered out to recapture British cannon were, instead, led into the maw of the Russian guns and one third of them were slaughtered and many more were wounded and the Light Brigade became the stuff of legend and buck passing.

The movie is very well done, a delight to watch and enjoy all the bucolic scenery of Victorian times as well as the grime of the slums, and the strange attitude they held towards war and the appropriateness of wives to travel with the officers.

Very much worth seeing.

The late 1960s saw some of the best period costume war movies ever made. This re-make of the old 1936 Errol Flynn classic bares little resemblence, but is more historically accurate.

For background sets, unifroms and period feel this movie has few equals. Only the 1968 Waterloo movie can compare with its sets and costumes. The historical accuracy of these sorts of things is what maks this movie a visual treat. The storyline itself is a little hard to follow at times. Depictions of regimental life in the cavalry is excellent, but the Britishisms of the actors are also hard to understand. The story provides striking contrasts between the upper and lower classes in Victorian England, but the droppy romance between Captain Noland and Captain Morris's wife seems contrieved. Although both actual characters, I doubt they knew each other so well, as they were both in different regiments. The adulturous affair is added for plots sake.

Lord Cardigan is brilliantly played by Trevor Howard, although a number of his famous controversial "Black Bottle" scenes have been combined and attributed to Noland and him. Again this didn't happen, but it is a minor alteration for plot and it does not hurt the movie. It allows us to still see the characters of Cardigan and Noland accurately within the context of the film.

Lord Raglan in all his feebleness is also wonderfully portrayed by Sir John Gielgud. The movie accurately shows the Victorian mindset of the British army which was shockingly conservetive but incredibly brave. More details on the battle of the Alma as as well as the events leading up to the Charge at Balaklava would have been nice. Perhaps the editing axed out the Charge of the Heavy Briagde and the 93rd Highlanders Thin Red Line. These episodes would have placed the Light Brigade Charge in better perspective.

Still, the depiction of the charge is extremly good and must rank as one the best shown on film. The fact that the director actually used 600 men and horses for the scene is an indication of how much detail was used for this film. This kind of production value is not seen much these days. Cinema and history buffs should love this movie. It deserves to be watched several times as dialogue and rich scenes should be savored over and over again. This movie is crying out for a directors cut DVD or VHS edition as there must be a lot of footage that was removed.