Hell in Korea

A Hill in Korea is a typical British war film, shot in crisp black and white and with Portugal doing a rather good job of standing in for the Korean countryside. The plot sees a British platoon cut off by Chinese forces and forced to take refuge on a hill which they must defend to the last man in the face of overwhelming attacks.

You know these sorts of films by now: half of the conflict comes from the besieging enemy, the other half from divisions within the group, as various characters crack or show their true heroic nature. And the low budget seems to work hand in hand with the plot of these films, helping to make them feel tense and claustrophobic. A Hill in Korea has a lot of casual racism in it, which was a bit of a surprise, but the all-star cast makes it worthwhile.

George Baker (TREAD SOFTLY STRANGER) is a dependable presence as the lieutenant leading the platoon, and Harry Andrews is once again the gruff sergeant - a role he seemed destined to play throughout his career. Ronald Lewis makes an impact as the guy going out of his mind, and others like Percy Herbert, Michael Medwin, and Stephen Boyd flesh out the rank and file troops. Best of all is the chance to see Robert Shaw and Michael Caine, both uncredited early on in their careers.

It is said that the Korean War is the "Forgotten War." Most movies about it were made in the decade or so after the war, with the notable exception of M*A*S*H. Spielberg, Hanks, and Stone seem to be in no hurry to commemorate this conflict like the endless modern World War II and Vietnam movies. And if America's role in the war is mostly forgotten, almost no one remembers the UN allies, including Great Britain.

"A Hill in Korea," or "Hell in Korea," was made in 1956, about 5 years after the end of active combat. It portrays the travails of a patrol of mostly national servicemen (draftees) led by an inexperienced lieutenant and a pair of career NCOs. Naturally, they end up confronting an overwhelming Chinese force and are eventually besieged in a Buddhist monastery on a steep hill. A desperate battle ensues, reminding one much of the stand in "Sahara" or the very similar "The Steel Helmet," which was filmed 5 years earlier.

The film is mostly cliché, similar to a lot of US Korean War films. Only about three characters have any development about their home lives and dreams, usually just before they exit the scene for good. There is a very minor sub-plot with the radio operator who is ostracized after throwing away the unit radio. And there is a lot of good action. Unfortunately, this is one of those almost forgotten films that appears to have been poorly preserved and the version I saw was really low quality.

Other than action, what makes this film stand-out is the cast. You see stalwarts like Harry Andrews and Stanley Baker, rising stars like George Baker and Stephen Boyd, and the future 'M,' Robert Brown. It also featured some very young future superstars named Michael Caine and Robert Shaw. Altogether it features two future knighthoods and no less than 4 MBE/OBE/CBE holders. The cast alone makes this film worth a look.

As a side note, the film makes some points about the plight of the National Service men who were drafted to a war virtually unknown in the UK. Four years later the UK ended National Service for good and returned to a professional army. It is not overdone, but the film clearly was intended to raise questions about the post-WWII continuation of conscription.

It's a small film but great in its making. The overwhelming credit of it is its absolutely perfect almost naturalistic realism, filmed in Korea and taking part of all the hardships of the soldiers at very close quarters. You get to know each of the soldiers individually, and MANY of them make unforgettable impressions. More of a curiosity is the presence of a very young Michael Caine among them as the youngest and the only blond one. He isn't noticed much and isn't seen much, but he is actually in it; while also Robert Shaw makes a very early and very palpable presence. The main characters though are Harry Andrews as stalwart and dominating in his imposing stature as ever, and Stanley Baker as the toughest and hardest of them. You don't like him, but in the end you must wonder if he wasn't right after all, while of course there is also the martyr, all lost and making his situation constantly more awkward in succeeding in doing everything wrong.

The settings are also quite impressing with the Buddhist monastery as a refuge, like a Korean Alamo for a last stand, but here there are actually some survivors; while the greatest quality of the film is the indivdual close-up attention given to everyone of these forgotten heros.

It's 1951, and the Allies are on the retreat from the Yalu, with massive Chinese forces pursuing them south. A small unit of British troops is sent to reconnoitre a Korean village, and gets caught by two advancing Chinese battalions.

For all the formulaic treatment of soldiers maintaining a chirpy stoicism in adverse combat conditions, this film does have a certain gritty realism. George Baker as the rookie lieutenant burdened by command, and Harry Andrews as the tough old sergeant, are first-class. Don't blink, or you'll miss a very young Michael Caine as Private Lockyer, lamenting the death of Corporal Ryker (Stanley Baker).

The film works as a simple narrative of men under fire, but it certainly has some shortcomings. The narration which launches events may save the time and effort of explaining the plot, but would it not have been better for this information to emerge naturally out of the drama? When the hut explodes, there is a very obvious jump-cut. During the interval needed to get the actor out of the danger area, someone jolted the camera! Would the Chinese soldiers, even with their advantage in limitless canon-fodder, attack so recklessly across open, flat ground? At one point, close-ups are inserted to enhance the human reactions of the soldiers, but the trouble is, the lighting conditions do not match those of the master shot. Once the British soldiers retreat to the temple on the hill, the whole proceedings become totally studio-bound, with Shepperton fibreglass passing for buddhist architecture. The air strike relies too heavily on monotonously-repeated library footage of American planes. When the ending comes, it is a surprise in the wrong sense - the resolution is unconvincing, almost as if the film-makers didn't know how to extricate the soldiers. Surely a few bombs wouldn't clear the Chinese away for miles around?

Ronald Lewis plays Wyatt, the misfit who didn't want to be a soldier and who gets everything wrong. This character is needed in one sense, because there has to be some internal tension within the British camp, but Wyatt is not well done. His apostasy is overly-dramatic, and his immolation utterly unbelievable. This attempt to inject gaudy emotion into a basically stiff-upper-lip story just doesn't come off.

Verdict - Interesting 1956 British 'take' on recent war which ultimately succeeds, despite its flaws.

A Hill in Korea (AKA: Hell in Korea) is directed by Julian Amyes and adapted to screenplay by Anthony Squire, Ronald Spencer and Ian Dalrymple from the Max Catto novel. It stars George Baker, Harry Andrews, Stanley Baker, Michael Medwin, Ronald Lewis, Stephen Boyd and Victor Maddern. Music is by Malcolm Arnold and cinematography by Freddie Francis.

Out of British Lion Films, film is based on real events. Story follows a small group of British soldiers serving in the Korean War, who while out on routine patrol find themselves boxed in on all sides by the Chinese army. Against the odds the men, from different walks of life, must stand together to stand any chance of survival.

A Hill in Korea is more concerned with the conflict amongst the group of soldiers than it is with the enemy. 16 men, 10 of which are National Service conscripts, laugh, bicker, get scared and stand tall in readiness for what fate has in store for them. The upper crust and the working class thrust together makes for potent character dynamics, and of course it's a time when heroes and villains are born. This is a place where men apologise for getting injured, where they are told to fire their weapon instead of making love to it! And a place from which we know some will not return...

One of the very first films to deal with British troops in Korea (if not the first?), it inevitably has a familiarity about it if you be someone who often indulges in the War genre. However, the traditional flavours make this very appetising and the screenplay isn't shy of intelligence. Be it "friendly fire" or monologues about the futility of it all, film doesn't cop out. It's also very funny, with some absolute zingers delivered with caustic obviousness. Then there's the roster of great British actors that fill out the cast, with even the likes of Michael Caine (a real life servant in Korea) and Robert Shaw in secondary support slots. While Amyes keeps his camera up close for impact and Francis tones down the lighting to keep things sombre.

Well worth seeking out by fans of Brit war movies. 7/10