Two new second lieutenants join the regiment in the Indian army: Michael York and James Faulkner. York is idealistic and hopes to make a brilliant career. Faulkner is there because his father was in the regimentt and it's expected of him. He hopes to serve the minimum amount of time and get on with his life back in England. The prospects are not good. Under the command of its colonel, Trevor Howard, it's hide-bound, ritual stuffed, with constant talk about the honor of the regiment, and new lieutenants are to be seen and not heard. Millington doesn't care. He talks out loud and makes advances to Susannah York. She's the widow of a regimental hero who was killed in the field, and his uniform and VC are on display. So when she accuses Millington of attacking her in the garden, there's talk of a court martial. But that would reflect on the honor of the regiment, so a subaltern's court is convened, unofficial and just as binding. York is to defend Millington; his work is expected to be pro forma, but he mounts an actual defense. Stacy Keach, who's in charge of the court keeps trying to shut him down. But the stories begin to leak....
It's all spit and polish in the performances, with some major talent on view, including Richard Attenborough, Christopher Plummer, and James Donald stiff-upper-lipping their way through their roles. It's based on an award winning play by the appropriately named Barry England. While it's opened up nicely for the big screen, some of the staging comes through, particularly in Miss York's performance.
