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58 out of 67 people found the following comment useful :-
These three stooges thoroughly deserve the censure of history., 30 March 2004

Author: GulyJimson (GulyJimson@aol.com) from Los Angeles, CA

First, it should be noted that Tony Richardson's "The Charge of the Light Brigade (1968) is not a remake of the Errol Flynn classic adventure film of 1936; rather it is based on the Cecil Woodham-Smith work of military history, "The Reason Why". Both book and film are a debunking of the Tennyson poem. And hard as it is to believe, Richardson's film actually tones down the absurdities of the three principle figures responsible for the debacle at Balaclava. And these three stooges thoroughly deserve the censure of history, for never were the lives of six hundred brave men thrown away more senselessly than with the charge of the Light Brigade.

Richardson depicts the insanity of the Crimean War and Victorian society's glorification of militarism with a death's head sense of humor which makes the horrors of the conflict all the more potent. And he is unsparing in his condemnation of the culture that could glorify so unmitigated a disaster as Balaclava. The film was made at the height of America's involvement in the Vietnam War and it is an implicit critique of that conflict and war in general in that all countries regardless of time and place indulge in the pastime of National Lying. The greater the calamity, the greater the need to lie or glorify, for always the dead must count for something. In that sense the film is universal as well as timeless.

Using animation in the style of the Victorian newspaper caricaturists, during the opening credits, the film quickly details the events that led up to the war. This is also one of the few films to hold the media, in this case the English newspapers of the time, accountable for their actions. Instead of calling for deliberations and a halt to the madness that must inevitably lead to war, the press is shown whipping the British nation into war frenzy. These animated sequences which appear throughout the film to forward the exposition are both wonderfully inventive and wickedly delicious.

Throughout the film which is satiric and misanthropic in tone, the lower classes are shown to be stupid, ugly, and easily led, while the upper classes are shown to be stupid, beautiful, and utterly incapable of leading. Indeed the only decent individuals portrayed are either destroyed or trampled under foot by events and/or the arrogant stupidity of their superiors. Yet Richardson is never judgmental; rather he takes a Kubrickian detached point of view, allowing the viewers to observe the era and its foibles/morals and judge for themselves. And England of the mid-nineteenth century is beautifully recreated here. Hairstyles and uniforms and sets are rendered in exquisite detail. It takes its rightful place along side "Barry Lyndon" and "The Duelists" as among the most successful period recreations.

The film also uses a lot of period colloquialisms such as, "My cherry-bums!" and "All this swish-n-tits has made me randified!" and "You tell that stew-stick of a brother-in-law, that Brudenell to fetch off!" Wonderful, though some first time viewers may have difficulty understanding exactly what has just been expressed. And what a cast! Trevor Howard, Harry Andrews and especially John Gielgud give career topping performances. Gielgud as Lord Raglan, the slightly befuddled commander-in-chief, steals every scene he is in. Aging, tired in mind and body, missing one arm, continuously mistaking the French, ("Our allies, My Lord...") for the enemy, never quite grasping the situation whether in his office or on the field of battle, ("England is pretty, babies are pretty, some table linen is very pretty!") Its a delightful comic turn. And who wouldn't feel sorry for anyone unfortunate enough to be caught between Trevor Howard as the choleric Lord Cardigan, ("The melancholy truth was that his golden head had nothing in it.") and Harry Andrews as the equally bilious Lord Lucan? From the moment we see his saturnine countenance striding up the marble steps of the War Office we know this is a humorless, flint-hearted martinet. Both Lords had a long running personal feud which they quickly placed on an official level as well with unfortunate consequences for the Light Brigade.

David Hemmings and Vanessa Redgrave are the young romantic leads. Hemmings is Captain Lewis Nolan, a forward thinking career officer with very definite ideas how war should be conducted. He has returned to England after service in India to join Cardigan's regiment, and quickly runs afoul of the Lord in the affair of the "Black Bottle". In reality it involved another officer, who Cardigan placed under arrest for serving porter, (it was actually Moselle) when he had given strict orders that only champagne be served at the mess. Nolan the professional is unstinting in his criticisms or the three amateur Lords conduct of the war, and yet he too will play an unwitting part in the final destruction of the Brigade. A man of honor, whose honor however does not prelude having an affair with his best friends wife. Redgrave as the wife is as always, luminescent. The supporting cast sparkles as well. Mark Dignam as General Airey, Raglan's Chief of Staff, ("Speak up Nolan, he's a bit hard of hearing, and that statue doesn't help!") Howard Marion-Crawford as Lt. General Sir George Brown, Peter Bowles as Captain Henry Duberly, Norman Rossington as Sergeant Major Corbett, ("Right foot, straw foot!") and especially Jill Bennett as a lascivious Fanny Duberly all are very effective. This was also one of the last appearances of the great English classical actor, Sir Donald Wolfit, who would die later that year.

Finally enough cannot be said of Charles Wood's wonderful screenplay. With its exquisite use of the period vernacular it does a superb job of combining characters while paring history down to the essential to reconstruct the chain of events that led up to the destruction of the Light Brigade.

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24 out of 27 people found the following comment useful :-
Stark anti-war film which does not quite bring its ideas to fruition, 7 March 2005
Author: gus81 from Sydney Australia

Tony Richards was an ideas man, in some loose sense a lot like his contemporary 60s director Richard Lester. The two of them were mavericks, often eschewing traditional and reliable modes of film making in preference to trying out unchartered techniques - born out of nothing else but their own imaginations. Lester did this to achieve an original knockabout and racy product, and Richardson did it to achieve a more stark and poignant effect for the supposed thinking-man's 'swinging' audience of the time. However, not all these ideas worked well in practice. The Charge of the Light Brigade is an example of one of these misfires.

The film is a classic piece of late sixties film making; both in the bizarre arty techniques used, and in the bold anti-war message. The idea of the film is to shamelessly point out the blind arrogance that lies behind the decisions made by those at the top to go to war. Arrogance, the film conveys very clearly, which is based purely upon blissful ignorance. The audience is invited to feast upon the bumbling Lord Raglan (John Gielgud), who nonchalantly sits at his desk in the war office and calls the shots based only on his devotion to England's great past, rather than on any rational thought. We meet, and are disgusted with, Lord Cardigan (Trevor Howard) whose arrogance is the driving force behind all he does. He believes that he is always right no matter what, simply because as the captain he is in charge. He's more concerned with what his men drink out of in the mess, and punishing them for their wrongdoings, rather than on running a well oiled military machine. To him, he is the most important part of that machine.

In contrast to these men is Nolan (David Hemmings), an idealistic military man with 'principles'. He believes in good sound leadership and decision making, and as such is constantly at odds with the stuffy and arrogant attitudes of his superiors - they are always right and he should speak when he's spoken to, even if he has a valid idea. Note Lord Raglan's line: "It is a sad day for Britain when her officers know too much what they are doing." Nolan is the man trying to fight vainly against the ignorance-entrenched system.

All this happens to the backdrop of Britain choosing to join in on a foreign war - to save Turkey from Russia. It is a war Engalnd should not have been involved in, but the arrogant big wigs made the decision to go. In true 60s anti-war style, the arrogance of those in charge of the war machine brings about its own destruction. Nolan was right, Raglan and Cardigan were wrong and didn't care to accept that, the light brigade was lost, and a blaming game ensues. While riding over the corpse of Nolan, Cardigan threw the blame on Lord Lucan, Lucan in turn threw the hot potato to Raglan, and Raglan laid the blame on the poor innocent man who wrote the order that Raglan himself dictated to him. As such, the pointlessness of war, and the destructive capability of blind ignorance based on an arrogance derived solely from power was brought forth clearly.

However, the directing techniques to bring this powerfully stark message to life were not up to the task. Too many dreamy sequences were used which just distract the audience; the script was at times just downright boring; and too often, in the director's eagerness to achieve an arty effect, the powerful meaning of an entire scene was lost. It is one of those films that you really have to pay attention to and concentrate on the whole way through; and this isn't just because The Charge of the Light Brigade is a thinking-man's film, it is because the meaning of many of the scenes is hidden, shrouded behind quite a bit of self-indulgent (or imaginative) imagery. Too often Tony Richardson's 'ideas' simply confuse the audience.

However, as I have said, the film does have a point to make, and this point is evident to all at the end of the film, no matter how many scenes were a little too cryptic. Therefore the film was successful. In addition, there were many great scenes, such as the one where Lord Raglan rides straight through a peaceful anti-war demonstration on his horse, destroying banners and calling the demonstrators traitors. The scene where the British soldiers were seen dying of heatstroke on the plains before even reaching Sebastopol was done well, especially when the scene cut straight to London, where it was reported in the newspapers, untruthfully, that Sebastopol had already fallen. This scene went straight for the jugular in its anti-propaganda and anti-government stance. And of course there is the brilliant period animation showing England as the saviour of the world, and the encourager of world industry and prosperity. These animations contrasted beautifully with the scenes of petty bickering and war-mongering in Lord Raglan's corridors of power.

A great cast and a stark and powerful idea make The Charge of the Light Brigade an interesting film, and at least a good production. The film still rings through in todays international and political climate, and especially shows how not so far we have come, and how many mistakes we have not learned from since the 1960s, and even since the 1850s. However, a sharper script and clearer direction would have helped immeasurably, and would have probably transformed this film into a classic powerhouse, rather than the languishing near miss it is. 6/10

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19 out of 21 people found the following comment useful :-
A hugely ambitious forgotten classic that improves with each viewing, 14 December 2004

Author: TrevorAclea from London, England

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, MGM/UA's current DVD release is not so great.

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 omission of Vanessa Redgrave's horrendous singing may be a merciful release, but the loss 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.

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15 out of 15 people found the following comment useful :-
Superb period details, 3 November 2004
Author: Vaughan Birbeck from Scarborough, England

We have to wait nearly two hours for the eponymous event which climaxes this film. Prior to this we see a series of apparently unconnected episodes which give the viewer an insight into the workings of Victorian society, including anti-intellectuallism and idleness among the 'upper' classes, and brutality and theft among the 'scum' recruited in the slums.

While almost plot less this section of the film does follow a core of characters whose lives are connected by army service. The main character is Captain Louis Nolan, an idealistic professional in an army of amateurs. "England is looking well" he says in the first scene of the film. The irony is that the country that looks so good is a cruel and mismanaged place. Unlike his fellow officers, who have bought their posts, he has worked his way up the ranks of the Indian Army by merit. He despises them and they feel he isn't a 'gentleman'.

Nolan has very definite views on how war should be fought. Faced with the reality of battle and the inadequacies of the commanders (the senile Raglan and the childish Lucan and Cardigan) his impatience and temper have tragic consequences as he impetuously points the Light Brigade ("There, my Lord, is your enemy, there are your guns!") towards the bloody fiasco of which he is the first victim. The man who seems to know best makes the biggest blunder of all. Eye-witnesses said the hideous scream Nolan gave when he was hit stayed with them all their lives and the film re-creates it in a truly chilling way.

Although the film does reflect 1960's attitudes to war and politics (and I actually prefer these to the attitudes of the 21st Century) its setting is so perfectly realized that it hasn't dated as a '60s film'. In fact it seems better with the passage of time. If you can free yourself from the idea of a narrative history and give yourself up to a series of impressions which add new layers of understanding 'Charge of the Light Brigade' makes a fine historical film.

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11 out of 12 people found the following comment useful :-
Sometimes Mush History is more acceptable than reality, 17 July 2006

Author: theowinthrop from United States

*** This comment may contain spoilers ***

In 1936 Errol Flynn appeared in a film called THE CHARGE OF THE LIGHT BRIGADE, directed (at Warner Brothers) by Michael Curtiz. It was a box office smash, guaranteeing the greatness of Warners adventure star Flynn in a series of swashbuckling films that would last until 1941, and would remain imprinted on his career until he began to age too much from drink and debauchery. But the history presented about the most infamous blunder in British military annals during the Crimean War was mushed up. Elements of the Sepoy Revolt were tacked on, to build up an understandable motive for the Russian - English confrontation in the Crimea.

Yet for all it's mush, most people in 1936, or even today, enjoy THE CHARGE OF THE LIGHT BRIGADE with Flynn. It holds a kind of stately dignity to most people because Flynn represents a type of bizarre honor at all costs type that we admire. The film is, of course, named for Tennyson's poem about the Charge. Yet the Tennyson poem is not totally quoted, and only pops up on screen during the last seven minutes, inter-cut in the background of shots of the charging British cavalrymen. For a poetry lover the effect is not what one could wish.*

(*Lord Tennyson was criticized about twenty years after writing this poem by a member of the larger unit, "the Heavy Brigade" that was also at the battles of the Alva and Balaclava in October 1854, but followed the correct orders, lost few members, and successfully carried out it's assignment. Tennyson took it to heart, and wrote - believe it or not - a poem called THE CHARGE OF THE HEAVY BRIGADE. If you get his complete poems you can find it. It is a competent poem (one can hardly expect an incompetent poem by Tennyson), but it is totally without any merit in comparison to the earlier work. It is not quotable. I have put a copy of this poem down separately on the thread.)

In the meantime, Cecil Woodham - Smith wrote THE REASON WHY, a book (whose title is lifted from Tennyson's line, "Their's not to reason why. Their's but to do or die.") that documented the generally bad leadership of the Light Brigade and the British Army in the 1840s and 1850s, leading to the debacle at Sebastopol. The villains were James Brudenell, Seventh Earl of Cardigan, his hated cousin George Bingham, Earl of Lucan (great grandfather of the missing Earl/murderer from the 1970s), Lord Raglan (the General-in-Chief), Lord Airey (Raglan's second in command), and Captain Louis Nolan. Between these five geniuses the blunder occurred.

Woodham - Smith pointed out that Cardigan was an insufferable perfectionist and snob. He made the Light Brigade a crack fighting and riding group. But he sneered at non-aristocratic officers from India like Louis Nolan. Ironically Errol Flynn's character would have not risen far in the Light Brigade under Cardigan! There were a series of scandals involving this snob, one of which (the "black bottle" affair) is shown in this film. An illegal duel that resulted in Cardigan's trial for attempted murder before the House of Lords in 1841 (he won acquittal on an aggravating quibble regarding the name of his dueling opponent) is not in this film.

Cardigan might still have performed reasonably well if Lucan had not insisted on being put over him as head of Cavalry (Lucan, who lived to be 91, would eventually be a Field Marshall). The two kept on sniping at each other. The Duke of Wellington had died in 1852, and Raglan, his gopher, inherited his post as commander in chief. Raglan constantly wondered how the Iron Duke would have handled every situation, thus blinding his own powers of thought. Airey was even more of a non-entity. As for the angry, hot-headed Nolan, he was desperate to prove himself in battle to show up Cardigan and his snobs.

It was a recipe for disaster. The spark was the stupid, vaguely worded order that Nolan delivered to Lucan who sent it (without comment) to Cardigan, to take the Brigade to "the guns". It is believed Raglan meant the British guns . Nolan got into a fit of temper with Cardigan and Lucan, and pointed in a way towards both the British and Russian guns. Cardigan, shrugging his shoulder, started after the Russian position. Two thirds of the 600+ men were lost, but to Cardigan's credit they did seize the Russian guns. Cardigan himself survived (he would later have to explain this - did he leave his men to die in the battle when they reached the guns?). Nolan was killed trying to stop the insane charge when he saw the error he caused.

Trevor Howard is wonderful as the snobbish, ego-maniacal Cardigan - also quite a womanizer, and jealous of preserving the appearance of a fine figure (watch Peter Bowles trying to hastily push Howard into his girdle before battle). Guilgud is wonderful as the vague, out-of-it Raglan, who barely notices his men are being killed too easily. Hemmings plays Nolan well too, as we sympathize with a fairly intelligent officer being wasted, who makes just one rash mistake too many. Harry Andrews is only in the last half hour of the film, but his bull in the china shop character bodes nothing good for the situation.

Howard would repeat the character of Cardigan, under a different name, in the comedy THE MISSIONARY with Michael Palin and Maggie Smith, where he was a reactionary old general who was the richest man in England (and who liked the sound of the word "flog" - so would Cardigan for that matter). Also note the use of 1850 political cartoons from PUNCH that are animated in the film at several points.

"No,though the soldiers knew someone had blundered!"

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11 out of 13 people found the following comment useful :-
Another time, another place, 11 June 2001
Author: Bobs-9 from Chicago, Illinois, USA

I do find it fascinating to come across obscure, almost forgotten films like this with familiar faces and famous actors in it. It was made ca. 1968, and in the true spirit of '68, it is strongly anti-war, anti-military, and anti-establishment, even though it is set in the Victorian era, the height of the Romantic age, when Military valor was largely celebrated. Military life is here portrayed in terms of ranks of men being bullied and brutalized by each successive rank above them, with the biggest, meanest and stupidest ones at the top.

I found it quite interesting to see the famous charge, celebrated in the romantic verses of Tennyson, portrayed in such a matter-of-fact manner as a series of tactical blunders due to bad communication and incompatible personalities among the commanders. These events were supposedly well-researched, and though I am not informed on the subject, I found this version of events very credible. Even with the high level of weapons and communications technology we have today, this sort of thing still happens. It must have been very common in centuries past.

To me, the dialog of this film and its delivery by the actors is its most remarkable feature. Seeing films that depict distant eras, I've often thought that these eras must have not just looked different from what we are used to, but sounded very different as well. If we were suddenly dropped into Victorian England, we wouldn't always understand what was being said or inferred to us. Words, phrases, gestures, facial expressions or body language that would have obvious meaning in that time and place would be strange to us. The language and syntax would, of course, be different, but so would the rhythm, pace, expressive color and accenting of the way people spoke. `Charge of the Light Brigade' does a remarkable job of not just looking, but sounding like a distant place and time. For a viewer who is not educated in antique British expressions and military jargon, as I am not, it makes watching this film a bit challenging, but it's like spending 130 minutes in the Victorian age as a so-called `fly-on-the-wall,' as the British put it. There was more than one line spoken after which I thought `say what?' But that's OK. It doesn't kill you, just encourages you to think a bit. This aspect of the film looks to be well-researched as well, a superb example of a somewhat talky script in which great care is taken with the language and its use by the actors. The script doesn't serve the purpose of an exposition device for the dumbest members of the audience, a very common vice in films, particularly big-money films engineered to alienate as few people as possible. It's an integral part of a design to recreate an unfamiliar time and place, and as such, a bit uncompromising.

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12 out of 15 people found the following comment useful :-
An undiscovered masterpiece., 2 May 1999

Author: Hermit C-2 from Marietta, GA, USA

This overlooked masterwork of director Tony Richardson seemed to have dropped off the face of the earth until resurfacing on video a few years back. Seeing it again after a quarter century only made it seem even better.

It's a strong anti-war film but not strident or unfair. David Hemmings as Captain Nolan has his own definite ideas about fighting wars and improving the army. He is revolted by the brutality and stupidity of the officers towards the men, but he has a tragic fatal flaw. He believes that war, the main reason for a soldier's existence, is a proud undertaking that is best fought aggressively. This leads to disaster for him and his regiment.

Shining brightest among a stellar cast is Trevor Howard as Lord Cardigan, who despite his high social position and the finery he surrounds himself with is a brute and a boor. Howard's portrayal is classic. Harry Andrews is also excellent as Lord Lucan, Cardigan's brother-in-law and fierce rival. Of course John Gielgud also excels as Lord Raglan, the tired old soldier who leads the brigade. One weak spot in the movie is that the role played by Vanessa Redgrave seems rather tacked-on without great purpose. The only significant female role is handled well by Jill Bennett.

The charge occurs during the last part of the film and you'll want to watch it again to determine what really went wrong and who was at fault; though let me warn you, those answers aren't at all clear. What is abundantly clear is that this is a superb motion picture that deserves to be more widely seen.

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8 out of 8 people found the following comment useful :-
Further comments, 8 February 2007

Author: (roger@waycool.net) from United States

This movie was made in 1968 but I never got the impression from watching it that it was anti war. The movie was made entirely with British actors and a British director and the Brits never had an antiwar movement (because their government gave up its militarism after Suez in 1955). The movie depicts the British army as it existed in 1850. This was a period when one gained advancement in the army by money or title. It was a largely decadent and unprofessional army and the movie I think characterizes it rather well. In fact, Nolan wrote a book complaining about the need to professionalize the army but it took the near disastrous Crimean War to affect any serious changes (it too the British Navy another generation or more to make similar changes). At the time, there was a debate about the effectiveness of cavalry with some believing that no defensive position could withstand the full force of a disciplined cavalry charge--a left over from the Napoleonic Wars--while others thought a charge into artillery was near suicidal. Nolan's roll in the battle remains controversial and whether he delivered inaccurate verbal orders to Acrdigan to charge to prove the effectiveness of cavalry even against artillery or warn the brigade away has not been established because Nolan was killed.

As for the Crimean War, it also depicts the drum beat to war accurately and the implication that most of the dying was done by commoners and much of the death was caused by disease. It was an ugly war. What isn't shown is that the condition of the Russian army was far worse. The poor Russian peasant soldiers were sent to fight with smoothbore Napeolonic Era muskets with an effective range of perhaps 100 meters while the British and the French was new rifled muskets with a range of over 300 meters. In some battles very small forces of British held off huge numbers of Russians killing hundreds.

The Battle of Balaclave is generally depicted accurately. It was a calamity of errors. Capt Nolan actually lost his head during the charge and witnesses indicate that his horse continued running with corpse in the saddle for some distance before the body collapsed. The charge was initiated by the heavy Brigade led by Lord Lucan. There was a rivalry between Lucan and Lord Cardigan (brothers in law) and both brigades initially made the charge but the Heavies did not enter the Valley of Death. The Light Brigade continued into the Valley and were decimated but not wiped out. In fact they were supported by the French cavalry the Chasseurs d'Afrique and the Russian positions were in fact overrun. I think the charge as depicted in this movie is one of the most exciting I have ever seen captured in the cinema.

The so called Valley of Death has changed considerably since the 1850s. By 1994, it was entirely planted in vineyards and the only way to gain some sense of the battle is to find the famous Tractir Bridge over the Tchernaya River and follow the lines of hills. As for the town of Balaclava...I have a photograph of the town in 1854 with the British fleet anchored in the harbor. I took a photograph of this village in 1994 from just about the same angle as the 1854 image and then compared the two. The place is completely unchanged with even the stone buildings remaining. Of course, the village today is the base of the Ukranian Black Sea fleet and there is a not so secret submarine base cared into the limestone cliffs inside the harbor.

We may think that the Crimean War is ancient history but the people of Crimea do not. They have sort of a living museum called the Panaorma. This is a museum devoted to the siege of Sevastopol. There is a circular path and the visitor is engulfed by the on going battles on both sides of the path. One may wander the hills above Sevastopol and many of the rifle pits and trenches from the war remain (they were reused by the Russians during the unsuccessful defense of the city in 1942). It is a wonderful museum and it exemplifies the Russian attitude that history is alive and they don't forget their past.

This is a historically accurate movie. It moves a little slow at times and it has some amusing cartoonish graphics (almost reminiscent of Monty Python graphics). All the major players obviously have a great deal of fun with their rolls.

Anecdotes: Tony Richardson's two children, Nastasha and Joely are in the film as well is his sister in law Vanessa Redgrave. I think I have these relationships correct. Anyway, they are all related.

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15 out of 22 people found the following comment useful :-
Spectacular, but not history!, 3 March 2005

Author: chaucer-1 (boarshot@yahoo.com.au) from Alice Springs, Australia

Anyone who is looking for an historically accurate depiction of the charge of the Light Brigade at Balaklava, and the events that preceded it, had best leave this one on the video store shelf. Visually, the movie is well done and the cavalry action scenes are nearly as good as those portrayed in Sergei Bondarchuk's "Waterloo" - despite the fact that Bondarchuk had most of the Russian Army as extras. Unfortunately, director Tony Richardson couldn't make up his mind whether he was making a movie or a social commentary and his indecision pervades the story line from beginning to end. I notice that some other commentators here have praised the film for its accuracy. In reality it was anything but - most of the sub-plots were fabricated and some of the actual battle scenes are either gross distortions of what actually happened or improbable speculations. Captain William Morris (17th. Lancers), for example, was not foppish dilettante soldier portrayed - rather he was a tough, seasoned professional who had attended the Royal Military College, served in three previous campaigns and had taken part in the charge against the Sikh guns at Aliwal, India. Nor did he ride back wounded to the British lines after the charge as the movie would have it - in fact he was so badly wounded that he was left on the battlefield and was rescued much later by two of his comrades, both of whom received the Victoria Cross. And Captain Louis Nolan certainly didn't have an affair with Morris' wife (Vanessa Redgrave) as the plot implies - Nolan had never met Morris before they were both sent to the Crimea.

It was much in vogue to make iconoclastic war movies in the late '60s - "Oh! What a Lovely War", was another - probably because of Vietnam. It's a great pity that Richardson choose 'The Charge of the Light Brigade' as his protest vehicle since it leaves an enduring stain on the memory of 700 very gallant men. Yes, there were 700, not 600 - Tennyson got it wrong.

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7 out of 9 people found the following comment useful :-
Accurate and brilliant, 18 April 2006

Author: chas-hemsbrook from United Kingdom

My favourite subject is history (especially the Victorian era)and I was very pleased that Tony Richardson made this excellent film historically accurate.No Hollywood style poetic license.Some of the quotes that Capt.Nolan said were apparently excerpts from a book he wrote on cavalry warfare (which I have never found).I wondered how he (Richardson) would handle the fact that no one actually knows whether Cardigan reached the Russian guns or not and at what stage (if any) he turned back,but he seems to have glossed over that issue.I can only give this film 10 out of 10 because it is simply brilliant.The casting was superb with what I think was Trevor Howards best ever role,and Harry Andrews as Lord Lucan was perfect.I watched the Errol Flynn version of the events the other day and they seemed to have gone out of their way to make it as far from the truth as possible,right down to the uniforms and regiments involved.So well done to Tony Richardson etc.for making what is so far my favourite war film.Since writing my earlier comments I have discovered that Capt.Nolans book is still available "CAVALRY,ITS HISTORY AND TACTICS"and I would dearly love to read it but it costs £80!.I have also been told that the scene where Cardigan does actually reach the Russian guns was in fact edited from the final version.I thank other people for the comments and my learning more about a fascinating event in military history

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