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"King & Country," directed by Joseph Losey and released in 1964, is an unrelenting look at war. The World War I drama concerns a young soldier (Tom Courtenay) who is being tried for desertion. It's evident that, after his whole battalion was lost, that the boy was shell-shocked. A Captain Hargreaves (Dirk Bogarde) is brought in to defend him.

The film has actual photos of dead bodies from the London War Museum throughout the movie. The setting is freezing cold, wet bunkers with lots of mud. The men have been jaded to death and suffering and at times act brutally.

The end of the film is particularly awful, that's the only word I can think of. Not awful as in it's a bad movie, but awful in the situation.

Tom Courtenay does an excellent job as a wide-eyed young man who really doesn't realize what he did or what may happen to him as a result; Leo McKern turns in an excellent performance as a no-nonsense officer. Dirk Bogarde is wonderful as the captain who goes to the mat for his client and comes up against a cruel system that seems to have no understanding of or compassion for human frailty.

Lots of gross stuff in this movie - imagine actually having to endure it. Excellent directing job by Losey, and a thought-provoking film that you won't forget quickly, even though you want to.

King & Country is directed by the American Joseph Losey and stars Tom Courtenay as a young soldier in the Great War, shell shocked and facing a court martial for desertion.

Dirk Bogarde plays the officer whose duty is to defend him, at first he seems to be reluctant in his dealings with him, viewing him as a working class imbecile and cowardly to boot. However once he gets to know him a little, Bogarde discovers that many of Courtenay's friends and comrades in his battalion have died, he takes the case more seriously especially as he will be executed if found guilty.

The film is very much a stage play but is also arch as well as having a stylistic template with actual photos of dead bodies from the Imperial War Museum. The set tries to recreate the trenches with a cold, damp, dank setting.

The film has a grim atmosphere as displayed by the foot soldiers and Courtenay is one of them, a soldier who does not realise what he has done and the trouble he is in.

The film highlights the class aspect of the war as the officers have little compassion for the lower ranked soldiers and show no mercy for those driven to despair or madness.

On a World War I battleground, British soldier Tom Courtenay (as Arthur Hamp) is arrested for desertion, after serving three years in combat. If convicted, the shell-shocked young man will be shot dead. He is assigned a military defense attorney Dirk Bogarde (as Hargreaves) who seems convinced Mr. Courtenay is guilty. However, as the trenches trial proceeds, Mr. Bogarde becomes more sympathetic regarding his client's extenuating circumstances. "King and Country" will either spare Courtenay, or kill him...

Producer/director Joseph Losey does a convincing job with this drama, though it moves somewhat slowly until the end. Courtenay comes across as a shell-shocked man who volunteered for the war, and could no longer do battle after seeing his entire unit wasted away. He's commendable and understandable, and this shows in Bogarde's astute performance. The film's point is easily made, with Bogarde's character effectively leading doubters toward a shattering conclusion. The film, and both men, won award recognition.

******* King & Country (9/5/64) Joseph Losey ~ Dirk Bogarde, Tom Courtenay, Leo McKern, Barry Foster

It is 1917, and Arthur Hamp is a volunteer Private with the British Army. After the rest of his company are killed, Hamp decides to "go for a walk," with the deluded intention of making it home to Old Blighty from Belgium on foot. He is caught and put on trial under charges of desertion. If found guilty, Hamp will surely be executed. It is up to Captain Charles Hargreaves to defend the man and prove he was a victim of shell-shock, not a coward. Will Hargreaves be able to save Hamp's life, or will the young man face the firing squad?

Directed by Joseph Losey from a screenplay by Evan Jones, and based on a play by John Wilson- which was, in turn, inspired by a J. L. Hodson novel- 'King & Country' is a devastating anti-war film up there with Stanley Kubrick's 'Paths of Glory.' A frightening depiction of the injustices faced by shell-shocked soldiers in The Great War, it boasts strong dialogue and characterisation, with a gritty narrative both engaging and affecting.

'King & Country' is not just an anti-war film, though. As Losey had done previously with 'The Servant,' the film skewers the British class-system, showcasing its inherent inequality. It portrays the officers as arrogant, aloof and detached from the reality of the war going on around them. They are also indifferent to the plight of the soldiers at their command, who are conversely shown to be loyal and compassionate, for the most part. The narrative also exposes the bias and cruelty of the military court, which disregards Hamp's mental breakdown, condemning him as a yellow traitor.

The film boasts striking black and white cinematography from Denys N. Coop, which enhances the despondent tone of proceedings. Coop uses high contrast, low angles and close-ups to accentuate the feelings and reactions of the characters, while his utilisation of low-key lighting and deep shadows heightens the tension and drama of scenes. Highly impactful, Coop's sterling work is one of the reasons 'King & Country' is so memorable.

Additionally, Richard Macdonald's atmospheric production design creates a damp and despairing environment that immerses the viewer in the harsh conditions of warfare. Macdonald uses realistic costumes, props and sets to recreate the look and feel of a rat-infested World War I trench. 'King & Country' was shot on location in a purpose-built pit near Shepperton Studios, enhancing the authenticity and intensity of the film. Furthermore, Larry Adler's haunting and melancholic score complements the narrative's mood and tone adroitly, lending the film additional power.

'King & Country stars Dirk Bogarde as Captain Hargreaves alongside Tom Courtenay as Hamp, supported by Peter Copley, Leo McKern and Barry Foster. A nuanced and sensitive actor, Bogarde never turned in a bad performance- even if he disputed that- and as Hargreaves he delivers a multifaceted masterclass. He displays the characters' arc- from cynic to compassionate crusader- astutely, while co-star Courtenay is heartbreaking as the innocent, naïve Hamp; a gentle man for whom the endless slog of war proved to be too much. Moreover, Copley and McKern are both brilliant as arrogant officers, while Foster steals his short scene as the unbiased Lieutenant Webb with ease.

A strongly acted, well-written treatise on the class system, Joseph Losey's 'King & Country' is a powerful and poignant anti-war film that ranks alongside the very best of the genre. Boasting stunning cinematography, rich production design and a stirring score, it impresses on every level. Thought-provoking and intelligently made, 'King & Country' will linger with you long after the credits have rolled. It is- if you'd pardon the pun- a film that is absolutely fit for a king; and a country.

Like the incessant rain King and Country mired in mud and military litigation is a non stop emotionally powerful film of human spirit crushed by mechanized war and the necessity to maintain order. It's a chaotic Paths of Glory closer to the front and just as unjust.

After repeated shellings and engagements with the enemy Pvt. Hamp (Tom Courtnay) is arrested trying to walk back to England from the battlefields of Europe. Put on trial for desertion he and his lawyer Captain Hargreaves (Dirk Borgarde) devise a plan to attempt to save him from the firing squad. With shelling in the distance court convenes.

A filmed play with much shot in close-up along with a smooth and unobtrusive camera movement within the claustrophobic confines of the trenches ( with some telling stills) King and Country is an unrelenting depiction of absurd sacrifice stopping only for a moment to exterminate one with those around him scheduled for the same per order to immediately move out.

Director Losey's anti war tract is one of the most sober and ultimately powerful of an era when anti-war films flourished with wild absurdities from King of Hearts to How I Won the War. His inquisitors drab bureaucrats instead of ogres his stage a rat infested quagmire instead of a chess board floor of a French Château the film resonates with a callous, hopeless and to add insult to injury clumsy rush to justice.

Bogarde's Hargreaves is measured and restrained, his pauses and glances masking incertitude brilliantly. Coutrtnay is outstanding as the born to lose Hamp. Both touching and frustrating he states his case with a warped benign logic. Leo Mc Kern's hostile doctor also register's in a gruff way.

King and Country may not match the scale of All Quiet on the Western Front or Paths of Glory but Losey's deft and tight handling within it's limited confine packs every bit as an emotional punch.

"King and Country" was made 50 years after the outbreak of the First World War. At a time when most film-makers might have been expected to pay tribute to the men who fought and died in that conflict Losey, perhaps not unexpectedly, chose a different tact, This is a film about a British private on trial for cowardice when, in fact, what he was suffering from was battle fatigue. The soldier is Tom Courtney and the officer charged with defending him is Dirk Bogarde. It's a depressing, small-scale affair, (by comparison, Kubrick's "Paths of Glory" is positively an epic), very wordy and very well played by everyone. It may not be the best thing either Losey or Bogarde ever did, (though Courtney has seldom been better), but it's a bold and honorable film nevertheless. Unfortunately, the grimness of it's subject means it's seldom revived but it is worth seeking out.

This is a grim portrayal of trench warfare and an officer corps seeking to "set an example" by trying a soldier suffering from battle fatigue for desertion. He has attempted to walk home from France to England after enduring the death of his entire battallion from constant shelling and futile attacks. Scenes shifting from inside the trial and outside in the camp underscore the futility of war and its effects on the men who fight.

The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic.

'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices.

Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before.

This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff.

The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world.

The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'.

This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that.

The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War.

This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events.

This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight.

Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.

One of the best stage-to-film adaptions ever.

Made in black-and-white it captures the futility and claustrophobia of life in the trenches in World War One like no other film. It also gives compelling insights into the British class system.

This is a 'must see' film for all genuine students of the medium.

The obvious comparison that can be made with King & Country is Paths Of Glory. Both are concerned with people being tried for desertion and cowardice in World War I. Both are outstanding films though I would give the edge to Paths Of Glory.

One important distinction must be made. Paths Of Glory is an American made film with a French setting about wholesale French desertion during a battle and three guys being courtmartialed and shot as examples. King & Country is a British film with an American director at the helm about the British experience in trench warfare encapsulated in the story of one poor English Tommy.

With the last American dough-boy dying this year, World War I is a memory now with no first hand account of what it was like in those trenches. I know the last French veteran also passed away, I'm not sure of the British forces including those in the Commonwealth. America entered in 1917 and our Expeditionary force saw its first action in Belleau Wood in the spring of 1918. By November 11 of that year it was over. We had six months or so, the Allies and the Central Powers had four years.

All fought for ground gain measured in yards. A stalemate of opposing trenches stretching from Belgium to the Swiss border of France. And both sides throwing everything including poison gas in attempt to break through and score the decisive knockout blow.

Tom Courtenay plays Private Hamp who just saw the slaughter of his entire battalion and just went into shell shock and walked out of the trench in the direction of the coast of France and Great Britain. When he was caught he became a symbol of resistance to the futility of war that the British Army could not tolerate.

Like Paths Of Glory the verdict is already fixed though his defense counsel Dirk Bogarde makes a gallant attempt to save Courtney who is a total innocent as to the forces around him. One particularly good supporting performance is that of Leo McKern who plays the officer bringing the charges. He's a complete fool and there were many like him in all the armies of World War I who had not the wit or imagination to just call a halt to the slaughter.

Unlike Paths Of Glory, Dirk Bogarde has a humiliating indignity that Kirk Douglas did not have placed on him. King & Country is a fine film showing if not the futility of war itself, the futility of that particular war that scarred the world for generations and is still scarring it yet.

Directed by Joseph Losey, "King and Country" (1964) stars Tom Courtenay as Arthur Hamp, a British soldier who deserts his unit during World War 1. Court-martialed for desertion, Arthur is defended by Captain Hargreaves (Dirk Bogarde).

Well-meaning but overly melodramatic, Losey's film associates soldiering with muddy trenches, lost-causes and mean commanders. Here the British class-system treats working-class volunteers as cannon fodder, and military leaders are constantly demonstrating their class prejudices. Like the similarly themed "Paths of Glory" and "Breaker Morat", the film ends with an execution, pawns sacrificed so that others may think twice before betraying kings. The film was based on a play by John Wilson, who, as a lawyer, defended a similar client condemned to death.

7.5/10 – Overly wordy, but powerful at times. Worth one viewing.

Tom Courtenay plays Private Hamp, he is the lone survivor of his battalion having volunteered in 1914 – some three years prior, the rest whittled away by the arbitrary wantonness of war. He has been accused of desertion and is facing a court martial. Under martial law he is allocated an officer to represent him – this falls to Captain Hargreaves (Dirk Bogarde). What follows is the trial set amidst the rain and mud just behind the allied front line.

Courtenay plays the gullible soldier to a tee, he is basically an innocent lad who is probably suffering from PTSD or shell shock as it was sometimes referred to back then. Bogarde who was always exceptional plays the officer class perfectly with palpable changes in his attitude as the case unfolds. There is also a magnificently pompous portrayal of a disinterested Medical Officer from Leo McKern who steals the scene.

This was made in 1964 and was done for a shoe string budget – that apparently it never made back and that was despite winning awards and being critically acclaimed. However, recent renewed interests might just get this hidden treasure of British cinema some of the wider recognition it so richly deserves – massively recommended

One of the best anti-war films ever made, next only to Malick's "The Thin Red Line." Losey loved to film plays and did it well: and this is one of them. Losey loved to underscore social disparity among his films' characters--this film makes that more than obvious, The film begins with the camera slowly examining details of a public statue about soldiers dead in the war, dying for their country with the inscription "A Royal Fellowship of Death." That opening sequence is spellbinding (a great idea of Losey, his cinematographer Denys N Coop, and the screenplay writer Evan Jones. It prepares the viewer for what is to follow as the stone images merge with images of dead solders with their bones under their helmets and uniforms. Another major contributor to the film is the production design by Richard Macdonald--which should serve as an example for students of production design. Finally, the film belongs to actor Tom Courtenay, who was recognized at the Venice Film Festival for this role winning the Best Actor Award but not so at the BAFTAs, and to Dirk Bogarde giving one of his best performances while also contributing to the script (uncredited contribution.) A major part of the play and screenplay was the young soldiers doing mock court-martial of a rat procured from the carcass of a dead horse--what a bizarre but powerful idea mocking the actual human court-martial. One of the best films of Losey.

This is a pretty grim movie that I feel is acted very earnestly to reflect the mindset of both the times and the army.

This is not an action orientated film rather a minor exploration of the torments of war.

Being black and white adds to the dour feel the film has, the bleak existence of the troops, the mud and the death.

Bogarde made some strong movies in the 60's and this is one of them :)

Losey's sole war film is a fine effort but, along the years, it seems to have been overlooked in write-ups on the director's work; sharing its taut court-martial scenario with Stanley Kubrick's undeniably superior PATHS OF GLORY (1957), its gritty look at British Army life was also the subject of Sidney Lumet's more highly-rated THE HILL (1965; interestingly enough, both films were made by American directors!).

That said, Losey's film boasts a top British cast (Dirk Bogarde, Tom Courtenay, Leo McKern, Barry Foster, James Villiers and Peter Copley) and the music is provided by harmonica virtuoso Larry Adler; also notable is Denys Coop's probing camera-work - though, for a dialogue-driven film, the muddled soundtrack proves a distinct liability!

Still, its thought-provoking script deals with matters such as how one can properly discern between cowardice and shell-shock on the battlefield (the interrogation by Bogarde, as Courtenay's defence counsel, of pompous doctor McKern is perhaps the film's highlight), and also questions the reasoning behind the fact that, sometimes, a man must be sacrificed for the good of the battalion's morale.

In the end, though, the film suffers from a rather slow pace - particularly when focusing on the mostly irrelevant camaraderie among Courtenay's fellow soldiers, which often resorts to gratuitous cruelty towards animals!

Joseph Losey's King & Country was made on the 50th year anniversary of the start of the Great War. That fact alone convinced me that they made it deliberately to memorialize the war and to distill, in 90 minutes, the shock and stress of the war on several generations of men. We should thank them and remember the film, and the war, forever. Recounting one terrible episode about one man through art leaves an indelible image worth thousands of non-fiction pages. This searing, grim, and painful portrayal was inspired by two separate works, a contemporary stage play and a book from a decade earlier, so Evan Jones the screenwriter also deserves tremendous recognition for what's shown on screen. Tom Courtenay and Dirk Bogarde are outstanding, the visual images disturbing, and the story itself terrifying.

The fourth collaboration between emigré American director Joseph Losey and the distinguished British actor Dirk Bogarde was this unflinching anti-war drama set in World War One.

The setting is the trenches of Passchendaele in 1917, where the British army is encamped in conditions of absolute squalor. The ground is sodden mud, there's so little light it appears to be forever night and the rain is incessant. The group of young squaddies stationed there is isolated, scared and depressed as they struggle to keep mind, body and soul together for the task ahead, likely another pointless ordered advance to try to gain thirty yards of mud which will see many of them either die or get injured, never mind the mental toll exacted on them in the process.

As we join the inaction, Bogarde is the very proper CO Captain Hargreaves,reluctantly assigned to defend a young soldier accused of desertion, Tom Courtenay's Private Gamp. At the height of the fighting, Gamp simply walked off the battlefield with the idea of somehow making his way back home to his wife and mother. Initially condescending to and almost dismissive of his client, Hargreaves starts to understand how an innocent young man's will can be shattered by the trauma of war and tries to make the case at the court-martial against the Private's seemingly inevitable execution.

At a makeshift subterranean court with the rain constantly pattering outside, Hargreaves eloquently puts forward the case for mercy but this of course is in the days before any understanding or allowance is made for PTSD especially when the oafish army doctor on site, played by Leo McKern acts as the main prosecution witness but nevertheless Hargreaves' pleading seems to touch a nerve with the presiding officers giving Gamp hope that he might be spared.

There's an inevitability however about the eventual conclusion but even so, the final action of the movie is still a shocking one, just as it was no doubt meant to be.

I doubt I've seen a bleaker, harsher movie than this. The film is inevitably shot in monochrome with Losey occasionally cutting to actual photographs of the dead and dying from the actual war itself. He brilliantly creates a hell-on-earth of unimaginable filth and desecration where the young soldiers face a daily struggle preserving their sanity as much as keeping themselves physically safe.

Bogarde and Courtenay are both wholly convincing in their roles but are well supported by the ensemble cast. It is possible to see that the piece was originally a play and just once or twice Losey inserts scenes which are contrary to the super-realism exhibited elsewhere, but this must stand as one of the strongest anti-war movies I've seen with its ahead-of-its-time depiction of the physical and mental hardships for which totally unprepared young men either unknowingly volunteered or were forcibly conscripted, for the ragged glory of king and country.

Memorable but Overshadowed by Bigger more Expansive WWI Anti-War Movies like Paths of Glory (1957) and Others going as Far Back as 1930 with All Quiet on the Western Front, this is Nonetheless a Striking Example of a Filmed Play Using Still Photos and some Subtle but Effective Cinema Techniques like Dissolves.

It is a Downbeat Affair that one would Expect from such Material and the Comedic Touches of the Bored and Drenched Trench Combatants Playing with Rats makes more of a Pathetic Statement about the Mental Disintegration of All the Soldiers and not just the Ones who Snap and go for a Walk back to England.

The Film doesn't say Anything New on the Futility or the Mismanagement of the War to End All Wars, but Rather Reiterates the Ridiculousness of an On Field Court Martial with Little Substance to Prosecute on Hand as Everyone on Both Sides of the Mock Trial tries to Verbalize that which No Words can Describe.

The Movie has Many Touches of Symbolism and the Final Scene is Unforgettable. The Movie was Mostly Forgotten but has been Rediscovered along with a Newfound Appreciation for Director Joseph Losey's Work. He is one of the those that Contemporaneously was Ignored but has since Gained a Cult Following.