Zulu (1964 film)


Zulu is a 1964 British epic war film depicting the Battle of Rorke's Drift between the British Army and the Zulus in January 1879, during the Anglo-Zulu War. It shows how 150 British soldiers, 30 of whom were sick and wounded patients in a field hospital, successfully held off a force of 4,000 Zulu warriors. The film is notable for showing the Zulu army as disciplined and governed by strategy.
The film was directed by American screenwriter Cy Endfield and produced by Stanley Baker and Endfield, with Joseph E. Levine as executive producer. The screenplay was by Endfield and historical writer John Prebble, based on Prebble's 1958 Lilliput article "Slaughter in the Sun". The film stars Stanley Baker and introduces Michael Caine, in his first major role, with a supporting cast that includes Jack Hawkins, Ulla Jacobsson, James Booth, Nigel Green, Paul Daneman, Glynn Edwards, Ivor Emmanuel and Patrick Magee. Future South African political leader Mangosuthu Buthelezi played Zulu King Cetshwayo kaMpande, his great-grandfather. The opening and closing narration is spoken by Richard Burton.
The film was first shown on the 85th anniversary of the actual battle, 22 January 1964, at the Plaza Theatre in the West End of London. In 2017 a poll of 150 actors, directors, writers, producers and critics for Time Out magazine ranked it the 93rd best British film ever.

Plot

In 1879, a communiqué from Lord Chelmsford to the Secretary of State for War in London details the crushing defeat of a British force at the hands of the Zulus at the Battle of Isandlwana. In the aftermath of the battle, the victorious Zulus walk amongst the scattered bodies of dead British soldiers and gather their rifles. At a mass Zulu marriage ceremony witnessed by missionary Otto Witt and his daughter, Zulu King Cetewayo is also informed of the great victory.
A company of the British Army's 24th Regiment of Foot is using the missionary station of Rorke's Drift in Natal as a supply depot and hospital for their invasion force across the border in Zululand. Receiving news of Isandhlwana from the Natal Native Contingent Commander Adendorff, who warns that an army of 4,000 Zulu warriors is advancing to the British position, Lieutenant John Chard of the Royal Engineers assumes command of the small British detachment. Lieutenant Gonville Bromhead, an infantry officer, is rather put out to find himself subordinate to an engineer due to the latter's slightly earlier commission. Realising that they cannot outrun the Zulu army with wounded soldiers, Chard decides to make a stand at the station, using wagons, sacks of mealie, and crates of ship's biscuit to form a defensive perimeter. Witt becomes drunk and demoralises the men with his overtly dire predictions; the soldiers of the Natal Native Contingent desert. Chard orders Witt to be locked up in a supply room.
As the Zulu impis approach, a contingent of Boer horsemen arrives. They advise Chard that defending the station is hopeless. They retreat in haste, despite Chard's desperate pleas for them to stay. The Zulu army approach and then charge. The British open fire, but Adendorff informs them that the Zulus are only testing the British firepower. Witt again predicts the soldiers' inevitable fate, before being driven from the battle with his daughter. Chard is concerned that the northern perimeter wall is undermanned and realises that the attack will come from all sides. The defenders are surprised when the Zulu warriors open fire on the station with rifles taken from the British dead at Isandlwana.
Throughout the day and night, wave after wave of Zulu attackers are repelled. The Zulus succeed in setting fire to the hospital, leading to intense fighting between British patients and Zulu warriors as the former try to escape the flames. Private Henry Hook takes charge and leads the patients to safety.
The next morning, the Zulus approach to within several hundred yards and begin a war chant, as a sign of respect; the British respond by singing the Welsh song "Men of Harlech". In the final assault, just as it seems the Zulus will finally overwhelm the tired defenders, the British soldiers fall back to a small redoubt constructed out of mealie bags. With a reserve of soldiers hidden within the redoubt, they form into three ranks and fire volley after volley, inflicting heavy casualties; the Zulus retreat. After a pause of three hours, the Zulus re-form on the Oscarberg. Resigned to another assault, the British are astonished when the Zulus instead sing a song to honour the bravery of the defenders before departing.
The film ends with another narration by Richard Burton, listing the eleven defenders who received the Victoria Cross for the defence of Rorke's Drift, the most awarded to a regiment in a single action up to that time.

Cast

was inspired to make the film after reading an article on the Battle of Rorke's Drift by John Prebble. He took it to actor Stanley Baker with whom he had made several films and who was interested in moving into production. Endfield and Prebble drafted a script, which Baker then showed to Joseph E. Levine while making Sodom and Gomorrah in Italy. Levine agreed to fund the movie, which was produced by Baker's company, Diamond Films. It was shot using the Super Technirama 70 cinematographic process, and distributed by Paramount Pictures in all countries excluding the United States, where it was distributed by Embassy Pictures.
Most of Zulu was shot on location in South Africa. The mission depot at Rorke's Drift was recreated beneath the natural Amphitheatre in the Drakensberg Mountains. The set for the British field hospital and supply depot at Rorke's Drift was created near the Tugela River with the Amphitheatre in the background. The real location of the battle was 100 kilometres to the northwest, on the Buffalo River near the isolated hill at Isandhlwana.
Other scenes were filmed within the national parks of KwaZulu-Natal. Interiors and all the scenes starring James Booth were completed at Twickenham Film Studios in Middlesex, England. The majority of the Zulus were real Zulus. 240 Zulu extras were employed for the battle scenes, bused in from their tribal homes over 100 miles away. Around 1,000 additional tribesmen were filmed by the second unit in Zululand.
The film was compared by Baker to a Western movie, with the traditional roles of the United States Cavalry and Native Americans taken by the British and the Zulus respectively. Director Endfield showed a Western to Zulu extras to demonstrate the concept of film acting and how he wanted the warriors to conduct themselves. It has been rumoured that due to the apartheid laws in South Africa, none of the Zulu extras could be paid for their performance and that, consequently, Endfield circumvented this restriction by leaving them all the animals, primarily cattle, used in the film. This allegation is incorrect, as all of the Zulu extras were paid in full – the main body of extras were paid the equivalent of nine shillings per day each, additional extras eight shillings, and the female dancers slightly less.
Michael Caine, who at this early stage in his career was primarily playing bit parts, was originally up for the role of Private Henry Hook, which went to James Booth. According to Caine, he was extremely nervous during his screen test for the part of Bromhead, and director Cy Endfield told him that it was the worst screen test he had ever seen, but they were casting Caine in the part anyway because the production was leaving for South Africa shortly and they had not found anyone else for the role. Caine also believed that he was fortunate that the film was directed by an American, because "no English director would've cast me as an officer, I promise you, not one," due to his Cockney roots.
Caine's performance in Zulu won him praise from reviewers, and his next film role would be as the star of The Ipcress File in which he was reunited with Nigel Green.
One technical problem the armorers and the director had to deal with concerned the rifles used during the filming. The company was unable to obtain enough Martini-Henry rifles to equip all of the extras, and had to fill in with No.1 Mark IV Enfields disguised with socket bayonets as used on the Martini-Henrys. In the scene at 1:37:30 where Chard orders a walking advance and volley fire by ranks, the cocking pieces can be seen moving forward as the men shoot, and one kneeling man can even be seen working the bolt on his rifle. Generally, in any scene shot from the soldiers' left, the rifles being used are Enfields; in any scene shot from the right, Martini-Henrys.
The budget of the film has been the subject of some speculation. Press related figures of $3 million and even $3.5 million were mentioned upon the picture's American release. Joe Levine later revealed that Stanley Baker had approached him with a script and budget in 1962, just after the filming of Sodom and Gomorrah. Levine agreed to finance the picture up to $2 million. According to the records of the British completion bond company, Film Finance, Ltd., the production eventually finalized its budget at £666,554 . This included a contingency amount of £82,241, of which only £34,563 had been used by the time the picture had all but wrapped post-production. This would have placed the near-final negative cost at £618,876.

Historical accuracy

The basic premises of the film are true and largely accurate, but is not a historical re-enactment of real events. The heavily outnumbered British successfully defended Rorke's Drift more or less as portrayed in the film. Writer Cy Endfield even consulted a Zulu tribal historian for information from Zulu oral tradition about the attack. There are, however, a number of historical inaccuracies in the film.

The regiment

There are several inconsistencies with the historical record concerning the Swedish missionaries, the Witts. In the film, Witt is depicted as a middle-aged widower, a pacifist and drunkard, who has an adult daughter called Margareta. In reality, Otto Witt was aged 30 and had a wife, Elin, and two infant children. Witt's family were away at the time of the battle. On the morning of the battle, Otto Witt, with the chaplain, George Smith and Surgeon-Major James Henry Reynolds had ascended Shiyane, the large hill near the station, and noticed the approach of the Zulu force across the Buffalo River. Far from being a pacifist, Witt had co-operated closely with the army and negotiated a lease to put Rorke's Drift at Lord Chelmsford's disposal. Witt made it clear that he did not oppose British intervention against Cetshwayo. He had stayed at Rorke's Drift because he wished "to take part in the defence of my own house and at the same time in the defence of an important place for the whole colony, yet my thoughts went to my wife and to my children, who were at a short distance from there, and did not know anything of what was going on". He therefore left on horseback to join his family shortly before the battle.

The men of the regiment

The attack on the mission station was not ordered by King Cetshwayo, as the audience is led to believe in the film. Cetshwayo had specifically told his warriors not to invade Natal, the British Colony. The attack was led by Prince Dabulamanzi kaMpande, the King's half-brother, who pursued fleeing survivors at Isandlwana across the river and then moved on to attack Rorke's Drift. Although almost 20,000 rounds of ammunition were fired by the defenders, just under 400 Zulus were killed at Rorke's Drift. A similar number were left behind when the Zulus retreated, being too badly wounded to move. Comments from veterans many years after the event suggest the British killed many of these wounded men in the battle's aftermath, raising the total number of Zulu deaths to over 700.

Ending

At roughly 7:00 a.m., an Impi appeared prompting the British to man their positions again. No attack materialised, as the Zulus had been on the move for six days prior to the battle. In their ranks were hundreds of wounded, and moreover they were several days' march from any supplies.
Around 8:00am, another force appeared, the defenders abandoned their breakfast and manned their positions again. The approaching troops were the vanguard of Lord Chelmsford's relief column.
The Zulus did not sing a song saluting fellow warriors, and departed at the approach of the British relief column. This inaccuracy has been praised for showing the Zulus in a positive light and for treating them and the British as equals, but it has also been criticised as undermining any anti-imperial message of the film.

Reception

On its initial release in 1964, it was one of the biggest box-office hits of all time in the British market. For the next 12 years it remained in constant cinema circulation before making its first appearance on television. It then went on to become a television perennial, and remains beloved by the British public.
Zulu received highly positive reviews from critics. Bosley Crowther of The New York Times wrote that "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. For certainly the fellows who made it, Cy Endfield and Stanley Baker, have done about as nifty a job of realizing on the formula as one could do." Variety praised the "intelligent screenplay" and "high allround standard of acting," concluding, "High grade technical qualities round off a classy production." Richard L. Coe of The Washington Post wrote that the film was "in the much-missed tradition of 'Beau Geste' and 'Four Feathers.' It has a restrained, leisurely tension, the heroics are splendidly stiff-upper-lip and such granite worthies as Stanley Baker and Jack Hawkins head the cast." Whitney Balliett of The New Yorker wrote that the film had "not only refurbished all the clichés of the genre but given them the sheen of high style... It has already been pointed out that 'Zulu' is in poor taste. But so are such invaluable relics as G. A. Henty and Rider Haggard and Kipling." The Monthly Film Bulletin called Zulu "a typically fashionable war film, paying dutiful lip service to the futility of the slaughter while milking it for thrills. And the battle, which occupies the whole second half of the film, is unquestionably thrilling... But whenever there is a pause in the action the script plunges relentlessly into bathos, with feuding officers, comic other ranks, and all the other trappings of British War Film Mark I, which one had hoped were safely obsolete."
Rotten Tomatoes gives a score of 96% based on reviews from 23 critics.
Among more modern assessments, Robin Clifford of Reeling Reviews gave the film four out of five stars, while Brazilian reviewer Pablo Villaça of Cinema em Cena gave the film three stars out of five. Dennis Schwartz of Ozus Movie Reviews praised Caine's performance, calling it "one of his most splendid hours on film" and graded the film 'A'.
Although actual participants of the battle are named characters in the film, they bear little resemblance to historical accuracy. The most controversial portrayal is the one of Private Hook who is depicted as a thief and malingerer. His elderly daughters were so disgusted with the Zulu character, they walked out of the London premiere in 1964. The fictional depiction has led to an ongoing campaign to have the historical reputation restored to the real Private Hook. The film's producers admitted they chose Hook simply because "they wanted an anti-hero who would come good under pressure".
When released in Apartheid South Africa in 1964 the film was banned for black audiences, apart from a few special screenings for its Zulu extras in Durban and some smaller Kwazulu towns.
By 2007 critics were divided over whether the movie should be seen as deeply anti-imperialist or as racist.

Presentation format

Zulu was filmed in Technirama and intended for presentation in Super Technirama 70, as shown on the prints. In the UK however, the only 70mm screening was a press show prior to release. While the vast majority of cinemas would have played the film in 35mm anyway, the Plaza's West End screenings were of the 35mm anamorphic version as well rather than, as might have been expected, a 70mm print. This was due to the UK's film quota regulations, which demanded that cinemas showed 30% British films during the calendar year, but the regulations only applied to 35mm presentations. By 1964 the number of British films available to a cinema like the Plaza could be limited and Zulu gave them several weeks of British quota qualification if played in 35mm. In other countries the public did get to see the film in 70mm.

Awards and honours

Ernest Archer was nominated for a BAFTA Award for Best Colour Art Direction on the film. The magazine Total Film ranked Zulu the 37th greatest British movie of all time, and it was ranked eighth in the British television programme The 100 Greatest War Films. Empire magazine ranked Zulu 351st on their list of the 500 greatest films.

Home video releases

In the US, a LaserDisc release by The Criterion Collection retains the original stereophonic soundtrack taken from a 70mm print.
An official DVD release was later issued by StudioCanal through Metro-Goldwyn-Mayer. The film was released on Blu-ray in the UK in 2008; this version is region-free. On 22 January 2014, Twilight Time issued a limited-edition Blu-ray of Zulu in the US with John Barry's score as an isolated track; the release date being the 50th anniversary of the film and the 135th anniversary of the actual battle.

Merchandising