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course of the film, one gathers that the action takes place in 193 8, but the only way the Residency keeps contact with the outside world is through a white man, presumably an officer, disguised with turban, darkened face and black beard, who noses around amongst the natives whom you see walking aimlessly as if they were on the stage at His Majesty's (as in 1888).
One of these spies comes dashing in dishevelled, and with his last breath (as in 1888), tells of a revolt in Tokot. The officers discuss the situation in great seriousness around a wall map. The problem is acute. Tokot is four days' march from where they are, will they be in time to suppress the revolt ? (What about the Air Force ? Sh! this is 1888.)
You then see the first stage of the problem being solved. In the twilight of the following morning, the massive gates of the walled Residency open slowly, and the gallant kilted lads are seen marching out in perfect line and step, each with rifle and pack, headed by the fluttering flag and the glorious martial drums and bag-pipes (as in 1888).
In keeping with the current conceptions of human rights in 1888, there is sadism, cynicism and a contempt for human dignity packed tight into the picture.
The Governor passes a bar-room cynicism to an officer on his recent marriage, in front of the officer s wife. The officers bark at non-commissioned officers, and both grades talk to natives as if they were dogs. The non-commissioned officer bawls at the men and insults them gratuitously, just because they are men living segregated from women. This is supposed to be humour.
The men in turn humiliate the drummer-boy, and the drummer-boy treats the dark-skinned boy, Sabu, with contempt, until he finds out that he is some kind of Prince, and even then he talks to Sabu with sickly condescension. As Shakespeare put it: 'Every dog in office is obeyed/
If what we said about the American film is correct, that the success of a film generally depends upon its approxima
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