If the current US war against Iraq is to be compared with some previous conflicts, the most suitable example is going to be Boer War. In 1899, British Empire, the most powerful state in the world at time, went to war with Transvaal and Oranje, two independent republics in South Africa, ruled by Boers, descendants of Dutch settlers. The reasons for the war were complicated, but they mostly had to do with rich mineral deposits in those two countries and British plans to strengthen their hegemony over African continent. British have expected the war to be nothing more than colonial police action, but Boers proved to be much tougher opponents than anyone had anticipated. Due to stiff and skilful Boer resistance, the war lasted for years and forced the Empire to station half a million of soldiers in South Africa; in the same time some of the details of that war created huge backlash in non-British parts of the world, almost resulting in grand anti-British coalition between France, Germany and Russia. For many military historians Boer War is often seen as the first true "modern" war, not because the opposing sides used advanced weaponry like bolt-action rifles, machine guns and modern artillery, but because it had more sinister dimension, best described by two phrases that had entered popular vocabularies in that time - "commandos" and "concentration camps".
Boer War was also the first war to be captured on film. Ironically, it was also the war that captured relatively little interest by film makers in later decades. This could be explained with the fact that subsequent conflicts - grander and bloodier - were much more interesting. It was also difficult to find sympathies for opposing sides, especially in later decades of 20th Century - evil British imperialists were hardly better than apartheid-loving Boer rednecks. Yet one of the best (and least known) war films in recent memory has dealt with Boer War. It was Breaker Morant, 1980 Australian drama directed by Bruce Beresford.
The plot of the film is based on true events that had inspired stage play by Kenneth Ross. In 1901 Boer War has entered its third year. British forces had managed to defeat Boer armies in the field and occupy Boer lands only to find themselves faced with vicious guerrilla campaign conducted by small but effective bands of Boer "commandos". As casualties and cost of war mount and conventional methods of warfare yield no result , Lord Kitchener (played by Alan Cassell), British commander in South Africa, is forced to devise some innovative counter-insurgency strategies. They include building extensive network of "blockhouses", forced removal of guerrilla friendly Boer population into "concentration camps" and, finally, creation of special units that are going to fight "commandos" with their own irregular tactics. One of such units is Bushveldt Carbineers, commanded by Captain Simon Hunt (played by Timothy Hunt) and mostly manned by Australian volunteers, famed for their skill with horses and outdoor survival. Series of incidents resulting from Captain Hunt's death in Boer ambush results in charges being brought against three Bushveldt Carbineers - Lieutenant Harry "Breaker" Morant (played by Edward Woodward), Lieutenant Peter Hadcock (played by Bryan Brown) and Lieutenant George Witton (played by Lewis Fitz Gerald). Three men are accused of murdering captured Boers and German missionary who might have witnessed the massacre. Major J.F. Thomas (played by Jack Thompson), inexperienced country lawyer who must represent defence on court martial proceedings, soon finds evidence pointing that the men executed prisoners with their superiors' sanction. But his attempt to use this fact in their defence is fruitless – the trial has been staged to provide only one result. Three men are to be found guilty and executed in order to prevent backlash from European public and help Kitchener's efforts to talk remaining Boers into negotiated surrender.
Breaker Morant is often mentioned as a movie that in many ways predates Peter Weir's Galipolli. Both films deal with traumatic events from Australian military history - those in which Australians paid horrible price for being loyal to British Empire. George Miller in his documentary about history of Australian cinema takes those two films as an example of Australia finally discovering its own separate identity in opposition to British-dominated past. But it would be too simple to describe Breaker Morant as simplistic anti-British or anti-Commonwealth/Empire propaganda. The script by Beresford, Jonathan Hardy and David Stevens is too complex and intelligent to be wasted for such petty purpose. Actually, Breaker Morant deals with some subjects that are universal and still relevant in today's world.
The most obvious of those subjects is the war and its effect on the fragile foundations of human civilisation and morality. The title protagonist is a poet and refined intellectual; yet war turned him into savage monster capable of committing barbarous acts. Not only individuals but institutions are also affected - British Army, arguably the most professional military in the early 20th Century (made exclusively of volunteers in the era while other armies used conscription), known for its tight discipline and chivalrous conduct, is forced to use methods worthy of Huns, Mongols and other barbaric hordes in order to win the war. Yet this institution, just like the protagonists, is incapable to face this reality; for British military brass concept of "gentlemanly war" suddenly becomes relevant again when they have to sacrifice few individuals in order to cover their crimes. Beresford also wisely chooses not to portray protagonists as saints – they are not innocent of their crimes; they might have only "followed orders", but some of those ordered were followed with zeal, and some acts weren't even sanctioned by their superiors at all. Things aren't simple even with villains - Lord Kitchener is allowed to explain some of his morally repugnant acts with valid arguments. Major Thomas is the only character which could be described as film's moral anchor and whose poignant speech at the end makes an interesting argument - it is absurd to accuse individuals for murder and in the same time require them to kill people as their duty.
The interesting thing about this speech is the fact that it is in most part based on actual court recordings. Actually, Breaker Morant is very accurate film, much more than usual films based on true events. Even the most Hollywood-like and surreal incidents have their foundation in historical fact. Beresford manages not only to find perfect balance between historical accuracy and filmability of the material - he transcends the stage play origins of the script by very extensive but effective use of flashbacks. Huge open spaces of South Australia give perfect setting for the story, while music by Phil Cuneen and extensive use of popular military marches and period songs give some kind of semi-ironic comment to the events in the film.
The acting is superb. Beresford has used his old associates from Money Movers, but the strongest performance is given by Edward Woodward who, just like in The Wicker Man, displays great talent in playing tragic protagonists. Woodward in this film manages to maintain charismatic presence despite his character being burdened by internal conflicts and morally dubious choices. Bryan Brown is also good as his comrade with working-class neighbourhood, whose motive for going to war is simply financial. Lewis Fitz-Gerald makes equally impressive performance in the role of the youngest and most idealistic member of tragic trio. Jack Thompson is very good as strong-willed attorney who fights the losing battle while Alan Cassell gives creepy but convincing portrayal of Kitchener.
Incredibly accurate, thought-provoking and very relevant to current state of world affairs, Breaker Morant is definitely the film that should be watched in our times.
RATING: 9/10 (++++)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on March 27th 2003)
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