Khartoum tells the story of British general Sir Charles Gordon (Charlton Heston) who accepted the assignment of liberating English citizens and Egyptians from the Sudan city of Khartoum, which was being invaded by The Mahdi (Laurence Olivier) and his Arab forces.
Directed by Basil Dearden and written by Robert Ardrey, Khartoum is an effective historical story piece that has wisely spent its budget to make it looks fabulous. Shot in Ultra Panavision and Technicolor on location in Egypt, it goes without saying that the film needs to be witnessed on the biggest screen available to you. As is normally the way in this type of film, historical accuracies come under scrutiny, to which Khartoum, except for a couple of major character meetings that never happened, is happy to hopefully entertain while it educates. But it's talky, very talky. Which while that works for those who like a touch of political intrigue in their historical epic diet, those more inclined to gorge on action over substance movies are sure to still be hungry come the end. What action there is is excellently choreographed by stunt coordinator Yakima Canutt, and as productions go, Khartoum is lavish and acted with no little skill by a fine cast (Ralph Richardson, Michael Horden & Nigel Green complementing Messrs Heston & Olivier).
But Khartoum is something of an enigma in that it has a lot going for it yet it remains a genre piece that's hard to recommend with confidence. In fact it's very much like another of Heston's historical epic pictures, 55 Days at Peking, in that it has many fans yet is rarely spoke about in genre circles. Of course there's now issues in this day and age as regards races and how they are portrayed, so for the politically correct amongst us, it's probably best to avoid this "touchily topical" period in Heston's career. And while Ardrey's screenplay was nominated for an Academy Award, one can't help yearning for some more depth given to the lead players, Gordon & The Mahdi, as opposed to expansive conversations involving political machinations back in Blighty. However, its literary value is still very high, which when coupled with the magnificent visual touches (Edward Scaife on cinematography duties) make it a genre piece of note; to the discerning observer that is.
A mixed bag for sure, but it doesn't waste the money afforded it, while it's certainly far better than some of the silly and shallow epics that came our way post 1970. So a cautionary 7/10.
Directed by Basil Dearden and written by Robert Ardrey, Khartoum is an effective historical story piece that has wisely spent its budget to make it looks fabulous. Shot in Ultra Panavision and Technicolor on location in Egypt, it goes without saying that the film needs to be witnessed on the biggest screen available to you. As is normally the way in this type of film, historical accuracies come under scrutiny, to which Khartoum, except for a couple of major character meetings that never happened, is happy to hopefully entertain while it educates. But it's talky, very talky. Which while that works for those who like a touch of political intrigue in their historical epic diet, those more inclined to gorge on action over substance movies are sure to still be hungry come the end. What action there is is excellently choreographed by stunt coordinator Yakima Canutt, and as productions go, Khartoum is lavish and acted with no little skill by a fine cast (Ralph Richardson, Michael Horden & Nigel Green complementing Messrs Heston & Olivier).
But Khartoum is something of an enigma in that it has a lot going for it yet it remains a genre piece that's hard to recommend with confidence. In fact it's very much like another of Heston's historical epic pictures, 55 Days at Peking, in that it has many fans yet is rarely spoke about in genre circles. Of course there's now issues in this day and age as regards races and how they are portrayed, so for the politically correct amongst us, it's probably best to avoid this "touchily topical" period in Heston's career. And while Ardrey's screenplay was nominated for an Academy Award, one can't help yearning for some more depth given to the lead players, Gordon & The Mahdi, as opposed to expansive conversations involving political machinations back in Blighty. However, its literary value is still very high, which when coupled with the magnificent visual touches (Edward Scaife on cinematography duties) make it a genre piece of note; to the discerning observer that is.
A mixed bag for sure, but it doesn't waste the money afforded it, while it's certainly far better than some of the silly and shallow epics that came our way post 1970. So a cautionary 7/10.