.jpg "THE STEEL BAYONET (1957)") |
| THE STEEL BAYONET (1957) |
Director: Michael Carreras
Producer: Michael Carreras
Screenplay: Howard Clewes
Cast: Leo Genn, Kieron Moore, Michael Medwin, Robert Brown, Michael Ripper
How?
In 1956 as Quatermass 2 was in post- and The Curse of Frankenstein in pre-production Michael Carreras approached Hammer with a request to film a war picture, Observation Post, written by action novelist and screenwriter Howard Clewes (who would later go on to write Mutiny on the Bounty (1962) and then have his name removed from it). This was to be the first of a small number of Hammer war pictures, and Carreras took on the roles of both producer and director (the first of a small number of features Carreras would direct for Hammer). Leo Genn, Irish actor Kieron Moore, Michael Medwin and Hammer stalwart Michael Ripper took lead roles, and the film is notable in featuring an early, uncredited appearance by Michael Caine. Filmed entirely on location at the army training area in Aldershot, with British soldiers used as exras, The Steel Bayonet (as it became) is notable in that it was Jack Asher's first film as cinematographer for Hammer (he would go on to shoot the best of Hammer's gothics) and was Hammer's first feature to be shot in widescreen.
What?
In Tunisia in 1943 the decimated and exhausted remains of a British Army Infantry Company commanded by Major Gerrard (Genn) are expecting a period of rest and relaxation. Instead, they are assigned to set up a forward artillary observation post in an abondoned farm close to the German lines, from where they are to direct Allied shelling in advance of a last push for Tunis. They are told to fight to the last man and the last bullet, and Gerrard realises very few, if any, of them will be returning. They are joined by Captain Mead (Moore) who will direct the artillary fire. Finding the farmhouse deserted they set up base and the top of a tall water tower is decided as the location where Mead must spend all day radioing to the British gun crews. It is imperative they are not discovered, but a booby-trapped German body alerts a nearby patrol, who are silently bayoneted. They are missed, however, and soon the German forces are advancing on the farmhouse and Gerrard's men must hold them off for as long as possible.
So?
The Steel Bayonet slipped out almost unnoticed a few weeks after the release of The Curse of Frankenstein, the type of film for which Hammer would become more famous. However, Bayonet deserves a little notice in its own right. Part of a small group of Hammer war films and little known now, Bayonet has at least two claims to fame in the area of cinematography, in its debut of Jack Asher (although not yet in colour) and in its use of widescreen. And it is wonderfully shot, the scenes from the top of the water tower making the most of the widescreen process, and the battle scenes almost immersing one in the conflict. Although shot in England, the use of black and white is a distinct advantage in this regard, conveying the impression of a North African setting very convincingly - the judicious use of a few crickets noises only adding to the illusion. And unlike many war picutres of the period the men actually look as if they have been fighting for months in the desert heat.
Among the performances that of Leo Genn stands out in particular. His portrayal of the war-weary Gerrard, resigned to his fate and yet determined to follow his orders to the end is hugely touching. His love for his men, displayed in moments of kindness and concern within the claustrophic confines of the farm, and his obvious but hiddden distress that he is leading most of them to their deaths, stand at the heart of the film. Kieron Moore as the determined artillary observer gives strong support, as does Michael Ripper with moments of wry humour. The film is full of such moments as the men banter among themselves, attempting to take their minds off the conflict that is looming closer. Among them one is of note, where a hardened soldier, fed up and about to desert, is assigned a new young recruit to look after. After his initial disdain and contempt he gruffly takes him under his wing and teaches him how to survive, thus giving himself a sense of purpose again. Overall, the film features a fine ensemble performance, and the final close-fought battle comes somewhat as a shock, as characters one has grown attached to are coldly dispatched.
It is a feature of Hammer's war pictures that they do not take a gung-ho attitude, and Bayonet is no different. A thoughtful meditation on the themes of honour, friendship, bravery and duty, and yet at times a biting indictment of the savagery and senselessness of war and the cold efficiency of the 'men at the top' moving soldiers like chess pieces, Bayonet is probably Michael Carreras' best picture among his short list as a director for Hammer. In addition to it being their first widescreen picture, Carreras introduced what was probably another first among British war pictures. Rather than speaking English, the German troops speak German and are subtitled - thus making them more than just an anonymous 'enemy' but individual human beings. Their commanding officer's obvious distress at the slaughter that takes place only helps to emphasise this 'humanising' feature of the film. Bayonet is among Hammer's neglected pictures and, while by no means a masterpiece, fully deserves a little more attention that it so far has received.
Yorum Gönder