Guns at Batasi

It's the early 60's, Africa is being decolonised and a supposedly peaceful transition from colony to independent nation goes awry. All that stands between order and "enemies of the new state" being butchered is Dickie Attenborough's RSM and his Sergeant's mess. He has to defend his barracks, put up with a naive left wing politician, a young girl who's taken a fancy to a conscript private who wants his last day in the army to go without a hitch, a wounded African officer who is greatly respected by the RSM, but is an enemy of the new army he's supposed to be in charge of and a largely absent British officer corps. But this won't get Dickie down; the worse things get, the more determined and resolved he gets. Some of his dialogue is fantastic and his calm (and not so calm) put downs of those who threaten him or complain to him are brilliant. Like Anthony Hopkins in "Remains of the Day", his is a lifetime of service and duty; but one that kicks serious ass.

It's one of Attenborough's finest performances: Certainly up there with Brighton Rock.

I'd never even heard of Guns at Batasi before but I was amazed to find that it's a superlative film. I was expecting standard British stiff-upper-lip fare that the British did so well in the 1950s and '60s, but what I wasn't expecting is that a film I'd never even heard of rivals and even exceeds top-notch British dramas like Sidney Lumet's 'The Hill'.

The film stands squarely on Richard Attenborough's pitch-perfect performance as a Regimental Sergeant Major - the performance of a lifetime, especially when you consider that Attenborough is the complete opposite of the character he plays in this film - in reality he's soft-spoken and unassuming, yet the character he's playing is not at all those things. To say that this role was a stretch somehow doesn't do the performance justice - Attenborough literally becomes the RSM, and every moment he's on screen is incredible. Some reviewers assume that his performance is over-the-top, but I can assure everyone that British NCOs do act like this - or at least they did in the 1960s - I had the honour of knowing one of them.

Not that Attenborough is doing it all alone - the other performances are perfect too, as is the direction. The fact that the film was made in a studio in England makes you realise what a great job a truly great crew can do for a film - there's no way you'd think this movie wasn't made in Africa.

Altogether a fantastic movie - probably the best new film (new to me anyway) I've seen in the last two years. This blows everything else out of the water.

Oh, and for those worried that it's a war film - definitely not. It's a drama set in a military barracks, but psychological drama is what we have here, and unlike a lot of those kinds of films this one has a heart and a sense of humour. Don't miss this one!

I discovered this film, quite by chance, whilst looking through the early evening schedules for BBC1. Billed in the newspaper as a "Second World War drama" it is anything but, actually being set in early '60s East Africa just after countries like Kenya achieved independence from Britain. Richard Attenborough is splendid as the RSM who worships "spit and polish" as much as he does HM The Queen. (Odd to think she's still on the throne and "reigning" over the same but very much changed realm.) Attenborough's characterisation of the type of man who ran the British Army is spot on. Are such men still with us? Flora Robson also gives a entirely believable performance as the naive and opinionated Labour MP. We know such women are still amongst us. The supporting cast of actors portraying the sergeants and reluctant conscript give this film great credibility. Mia Farrow is an unexpected guest and we can only envy Wilkie for getting his wicked way. Jack Hawkins, as ever, gives a stock performance as the officer who remains stiff upper-lipped in the face of adversity. Altogether an unexpected treat.

I enjoyed this film considerably. The production values were nice, the acting good, and it had a good sense of humor I wasn't expecting. The Sergeant Major's character was obviously clichéd, but they rounded him out enough to save him from being a mediocre character. There are some really nice touches in the script, and many of them are humorous. I though that the wounded captain's collapse just as he's giving himself up to his African countrymen is a bit coincidental, but dramatically speaking, he needs to be kept in the mess hall. And for what it's worth, and although I've never been a big fan of hers, Mia Farrow has never looked hotter.

I remember seeing this film when it first came out and recall it made an impression on me as a young man. Saw it again last night on Fox Classics during war film week in the first week of November and it impresses me even more.

Since the first viewing I have experienced a military career in the air force and as a trainee pilot our WOD (Warrant Officer Disciplinary) could have been RSM Lauderdale to a tee. They just seem to know all about life and know what to do or say in any situation. And they have a wonderful innate knowledge of the big picture as well as the most intimate attention to detail. I am sure that this type of military rank was a vital cog in winning every war that has ever been won.

Loved the script - why, oh why, don't the smash, crash, wallop Hollywood script writers look at these old classics and learn how to put an interactive character piece together which can keep you on the edge of your seat without having cars smash through plate glass windows? Richard Attenborough certainly earned his BAFTA for his performance not only for the way he delivered his lines but his visual representation to every bat of his eyelid and twitch of his moustache.

My only criticism is the fact that being low budget it is quite obvious that it was shot in England especially when you can see English trees and houses in the background in some of the scenes. If only it could have been shot on location like "Zulu" it could have been even greater. But then again the strength of the film is the script and how cleverly it covered the type of dilemma which we still face to-day. Makes me wonder why it has never been done on the stage – or maybe it has.