Fun little movie that depicts the British and Indians living in some sort of Utopia together, with an evil villain (Raymond Massey, hamming it up with a vengeance) planning to slaughter the British troops at a banquet. It's up to his prince nephew, Sabu--the greatest of all child actors--to stop him. Definitely politically incorrect (although not outright racist), but with a lot of heart and humor. The humor disappears at the end in place of heavy suspense, and it's all wrapped up with a rousing, drawn-out battle scene. Hey, any movie with Scottish highlanders singing around a campfire is worth watching if you ask me. And it's in Technicolor to boot. 7/10.
22 Reviews
Good entertainment from a long-vanished era
csrothwec10 December 2008
Exactly what you would expect from the era in which it was produced and given the man behind its production. A rip-roaring adventure yarn which attempts to convince its audience it is set in (then-)modern times, (with radio transmitters strapped onto to pack mules and attempts to slip in 'contemporary' songs, (of which more below)), but whose heart is really in the 1890s or thereabouts, extolling the virtues of British rule of the Raj, the comradeship formed across races by jointly facing adversity and evil plotters aiming to overthrow British rule - all wrapped up in a Kiplingnesque atmosphere and with LOTS of bagpipe music, highland dancing and marching ranks of soldiers. The acting/screen presence of Sabu and Roger Livesey are very good and commanding, as is also the case with Raymond Massey, (always watchable in any case), as the scheming 'baddie'. Val Hobson appears suitably 'fragant' and stiff-lipped in the lead female role, BUT whoever was responsible for the idea of getting her to mime to the 'contemporary' love song inserted in one of the dinner party scenes should certainly have been handed over to the insurgents for a VERY slow and agonising end! Conclusion: switch off the PC monitor, go back seventy years and just go with the flow of an entertainment movie which will zip by rapidly and leave you feeling you have spent 90 minutes in a care-free manner, (especially if you can hit the mute button when 'that song' comes on!)
The Little Drummer Boy
Mike-76420 February 2007
The British are trying to make peace treaties with numerous tribes in India to make sure there isn't an uprising among rebel tribes. Captain Carruthers makes a treaty with the prince, but when the prince's brother (Prince Ghul) murders the prince, he now has the tribes just where he wants him (in a spot to annihilate the British). The murdered prince's son (Prince Azul) reaches Carruthers and tells him of what happened, so Carruthers takes a troop to Ghul's fortress. Ghul welcomes Carruthers with a ceremony of a 5 day feast, but when the feast is over Ghul plans to kill all the British troops with their smuggled machine guns, unless Azim can lead a British battalion to Tokot to stop Ghul's mad plan. Despite being politically incorrect with the British superiority over the people of India, the film does contain a fair amount of action and thrills to entertain the film going audience, granted it is no Gunga Din or Four Feathers (the latter of which and this film share the same author). Massey oozes evil as Ghul, and their is decent support with Sabu, youthful as ever as Azim, Massey as the stuffed shirt Carruthers, and Hobson as his wife. The score is decent, but not that rousing and shooting in color limited the best chances to use lighting. Rating, 7.
The last days of the Raj and a lot of fun
sirdar31 October 1998
Unabashedly pro-Raj, the story of a young Indian Prince and his friendship with some British army types. The release of this film was reported to have sparked anti-British riots in India. Sabu outdoes himself as the spunky and, ultimately, obsequious Prince who lines up with his friend/occupiers to battle the deliciously evil Raymond Massey. Very politically incorrect by today's standards the film is a good adventure yarn as well as a Korda tribute to the the rapidly vanishing British Empire. The plot borrows elements from the real life killing of Sir Louis Cavagnari and his party years earlier in Afghanistan. In reality British and colonial forces were actively engaged in military operations in Waziristan at the time of the making of the film.
Do of the Derring Variety
JoeytheBrit5 April 2010
Warning: Spoilers
All is not well on the Northwest Frontier: the dastardly Prince Ghul (Raymond Massey) has assassinated the ruling king so that he can take his kingdom back from the British with the aid of machine guns smuggled in from Afghanistan. To escape the same fate as his father, Prince Azim (Sabu) assumes the identity of a lowly peasant as he tries to warn Captain Carruthers (Roger Livesey) of the danger that awaits him and his men.
The Drum is one of those old school British films that glorified our former position as Empire builders by painting us as benign masters deeply concerned about the well-being of those whom we had colonised. The redoubtable Roger Livesey is the embodiment of stiff upper lippery as he strives to foil the skulduggery of the evil Ghul - a wonderfully malign performance from a black-faced Raymond Massey - and return Azim to his rightful place on the throne of Tokot. Livesey wasn't really well-suited to the dashing hero type, although he was the epitome of the British colonial officer. Although he was only in his mid-thirties when he made this film, he looks much older, as if he'd be more at home over a fat cigar and a glass of port in the study than battling fuzzy-wuzzies in the searing heat. Valerie Hobson plays his devoted wife with that glacial air reserved for the wives of officers or upper-class businessmen in pre-WWII Brit flicks, and it's impossible to imagine her locked in a passionate embrace with her husband. In fact that is probably where the biggest problem with this film lies: there's very little passion for anything evident in any of the characters: they are simply facing - or creating - one problem after another and stoically devising ways of dealing with them.
The plot is fairly stodgy by today's standards. There's a lot of talk and precious little action until the last reel or two, which means many people will find it hard going. Suffice to say, the equilibrium is restored by the final reel and our Colonial subjects are left to live peaceful lives beneath our benign and ever-watchful gaze.
The Drum is one of those old school British films that glorified our former position as Empire builders by painting us as benign masters deeply concerned about the well-being of those whom we had colonised. The redoubtable Roger Livesey is the embodiment of stiff upper lippery as he strives to foil the skulduggery of the evil Ghul - a wonderfully malign performance from a black-faced Raymond Massey - and return Azim to his rightful place on the throne of Tokot. Livesey wasn't really well-suited to the dashing hero type, although he was the epitome of the British colonial officer. Although he was only in his mid-thirties when he made this film, he looks much older, as if he'd be more at home over a fat cigar and a glass of port in the study than battling fuzzy-wuzzies in the searing heat. Valerie Hobson plays his devoted wife with that glacial air reserved for the wives of officers or upper-class businessmen in pre-WWII Brit flicks, and it's impossible to imagine her locked in a passionate embrace with her husband. In fact that is probably where the biggest problem with this film lies: there's very little passion for anything evident in any of the characters: they are simply facing - or creating - one problem after another and stoically devising ways of dealing with them.
The plot is fairly stodgy by today's standards. There's a lot of talk and precious little action until the last reel or two, which means many people will find it hard going. Suffice to say, the equilibrium is restored by the final reel and our Colonial subjects are left to live peaceful lives beneath our benign and ever-watchful gaze.
Not bad...but who am I supposed to be rooting for in this film?!
planktonrules28 July 2011
Warning: Spoilers
This is a very typical sort of Alexander & Zoltan Korda film. It has a huge budget by British standards, lots of color and pageantry as well as a strong endorsement of the British colonial system. You are supposed to side with and root for the Brits
but in 2011 and in America, I felt myself, at times, siding with the rebels. After all, this was their country and the British were the occupying force. Colonialism, the bulwark of many 1930s and 40s films, is now out of fashion.
The film is set in the kingdom of Tokot. I presumed this place was a fictional place someplace around the Muslim nations of Afghanistan or Pakistan--but the real Tokot is near Sudan in Africa. I assumed it was Asian because the people looked Asian--and not the least bit Sudanese. Their leader is about to sign a treaty of friendship with the British. In other words, he will remain in power .but be 'protected' by the British. However, his people are against this treaty and his brother (Raymond Massey) is planning on using this as a way to seize power. However, after the assassination, the man's son (Sabu) escapes and a frantic search commences to kill the boy who is the rightful leader. However, the main focus through all this really is the British army—and shows what is happening mostly through their perspective. In other words, while Sabu was a huge star for Korda, he really is more of a supporting character. So the main theme is the safety and health of these soldiers and whether or not they'll survive Massey's scheming.
"The Drum" is a pretty good film but I couldn't help but feel that compared to Korda's other epics, it's a bit bland and easy to skip. Now I am not saying you should—it's a decent film. But I would recommend you download and watch his other films first. It's easy—just follow the links on IMDb.
The film is set in the kingdom of Tokot. I presumed this place was a fictional place someplace around the Muslim nations of Afghanistan or Pakistan--but the real Tokot is near Sudan in Africa. I assumed it was Asian because the people looked Asian--and not the least bit Sudanese. Their leader is about to sign a treaty of friendship with the British. In other words, he will remain in power .but be 'protected' by the British. However, his people are against this treaty and his brother (Raymond Massey) is planning on using this as a way to seize power. However, after the assassination, the man's son (Sabu) escapes and a frantic search commences to kill the boy who is the rightful leader. However, the main focus through all this really is the British army—and shows what is happening mostly through their perspective. In other words, while Sabu was a huge star for Korda, he really is more of a supporting character. So the main theme is the safety and health of these soldiers and whether or not they'll survive Massey's scheming.
"The Drum" is a pretty good film but I couldn't help but feel that compared to Korda's other epics, it's a bit bland and easy to skip. Now I am not saying you should—it's a decent film. But I would recommend you download and watch his other films first. It's easy—just follow the links on IMDb.
Bagpipes and uprisings in Colonial India...
Doylenf19 March 2009
Not until the story reaches the tense banquet scene does THE DRUM really come to life. Before that, there's a lot of character and plot exposition that slows things up considerably before the big showdown toward the end that is really the highlight of the drama.
SABU is the young prince that RAYMOND MASSEY wants to depose so that he can rule the unruly Indian tribes that resent British rule. ROGER LIVESEY is Captain Carruthers and VALERIE HOBSON is his lovely wife, a British couple adept at keeping a stiff upper lip while they deal with the uprising around them. RAYMOND MASSEY has the juiciest role and he's at his villainous best without overdoing it.
It's all very Rudyard Kiplingesque in treatment and if you've got a feeling of deja vu, you're not alone. What it lacks is the excitement of a "Gunga Din" or "Lives of the Bengal Lancers." The story is slow to build suspense and the Technicolor print shown on TCM had a washed out look that made THE DRUM look like a film in need of color restoration.
Livesey and Hobson haven't too much to do except to be their charming selves in a very British way and Sabu has been seen to better advantage in countless other films that followed.
Summing up: Not one of the best of this genre but worth watching for the climactic banquet and battle.
SABU is the young prince that RAYMOND MASSEY wants to depose so that he can rule the unruly Indian tribes that resent British rule. ROGER LIVESEY is Captain Carruthers and VALERIE HOBSON is his lovely wife, a British couple adept at keeping a stiff upper lip while they deal with the uprising around them. RAYMOND MASSEY has the juiciest role and he's at his villainous best without overdoing it.
It's all very Rudyard Kiplingesque in treatment and if you've got a feeling of deja vu, you're not alone. What it lacks is the excitement of a "Gunga Din" or "Lives of the Bengal Lancers." The story is slow to build suspense and the Technicolor print shown on TCM had a washed out look that made THE DRUM look like a film in need of color restoration.
Livesey and Hobson haven't too much to do except to be their charming selves in a very British way and Sabu has been seen to better advantage in countless other films that followed.
Summing up: Not one of the best of this genre but worth watching for the climactic banquet and battle.
"It's the old story of the mad dreamers of the world"
hwg1957-102-2657047 March 2020
Warning: Spoilers
Prince Ghul has murdered his brother and taken over the independent state of Tokot and plans to get together with other similar states to rise up against the British Raj on the north west frontier of India. Capt. Carruthers of the Army and rightful heir Prince Azim are instrumental (literally for Azim) in bringing down the rebellion, An exciting story that is beautifully lensed in 'Technicolour', well paced with moments of drama, pathos and humour.
The cast are all excellent though Raymond Massey as Ghul and a young Sabu as the displaced Prince stand out for me though the former's off screen demise is a tad disappointing. In support Desmond Tester does well as drummer Bill Holder and even though he says a few words Alf Goddard as the put-upon Private Kelly is hilarious. Valerie Hobson is merely decorative as Mrs. Carruthers.
A well made adventure film, perfect for a Sunday afternoon with tea and crumpets.
The cast are all excellent though Raymond Massey as Ghul and a young Sabu as the displaced Prince stand out for me though the former's off screen demise is a tad disappointing. In support Desmond Tester does well as drummer Bill Holder and even though he says a few words Alf Goddard as the put-upon Private Kelly is hilarious. Valerie Hobson is merely decorative as Mrs. Carruthers.
A well made adventure film, perfect for a Sunday afternoon with tea and crumpets.
Rousing Adventure From Another Era
Ron Oliver17 June 2005
A wicked Khan plans to use THE DRUM perched high up in his palace walls to signal the massacre of British soldiers invited to a banquet.
Sir Alexander Korda's London Films was responsible for this lively Technicolor action film which boasted outdoor scenes shot near the North-West Frontier with the assistance of the Mehtar of Chitral. It blends excitement, humor & history - definitely from a British viewpoint - into an attractive package sure to entertain the viewer lucky enough to find it.
Indian actor Sabu stars as the young Prince of Tokot who finds his life suddenly become very dangerous when he's forced to flee his usurping uncle and accept protection from the British Raj. Plummy-voiced Roger Livesey plays the Raj's stalwart envoy to Tokot who must find a way to stop the import of weapons to the evil new Khan, Raymond Massey, who is fomenting a rebellion. All three actors play their parts very well, with Massey especially attacking his villainous role with gusto.
Also in the cast are Valerie Hobson as Livesey's courageous wife; David Tree as a junior officer; and corpulent Francis L. Sullivan as the local Governor in Peshawar. Alfred Goddard appears unbilled as the hapless private Kelly.
*************************
Born Sabu Dastagir in 1924, Sabu was employed in the Maharaja of Mysore's stables when he was discovered by Korda's company and set before the cameras. His first four films (ELEPHANT BOY-1937, THE DRUM-1938, THE THIEF OF BAGDAD-1940, JUNGLE BOOK-1942) were his best and he found himself working out of Hollywood when they were completed. After distinguished military service in World War II he resumed his film career, but he became endlessly confined for years playing ethnic roles in undistinguished minor films, BLACK NARCISSUS (1947) being the one great exception. His final movie, Walt Disney's A TIGER WALKS (1964) was an improvement, but it was too late. Sabu had died of a heart attack in late 1963, only 39 years of age.
Sir Alexander Korda's London Films was responsible for this lively Technicolor action film which boasted outdoor scenes shot near the North-West Frontier with the assistance of the Mehtar of Chitral. It blends excitement, humor & history - definitely from a British viewpoint - into an attractive package sure to entertain the viewer lucky enough to find it.
Indian actor Sabu stars as the young Prince of Tokot who finds his life suddenly become very dangerous when he's forced to flee his usurping uncle and accept protection from the British Raj. Plummy-voiced Roger Livesey plays the Raj's stalwart envoy to Tokot who must find a way to stop the import of weapons to the evil new Khan, Raymond Massey, who is fomenting a rebellion. All three actors play their parts very well, with Massey especially attacking his villainous role with gusto.
Also in the cast are Valerie Hobson as Livesey's courageous wife; David Tree as a junior officer; and corpulent Francis L. Sullivan as the local Governor in Peshawar. Alfred Goddard appears unbilled as the hapless private Kelly.
*************************
Born Sabu Dastagir in 1924, Sabu was employed in the Maharaja of Mysore's stables when he was discovered by Korda's company and set before the cameras. His first four films (ELEPHANT BOY-1937, THE DRUM-1938, THE THIEF OF BAGDAD-1940, JUNGLE BOOK-1942) were his best and he found himself working out of Hollywood when they were completed. After distinguished military service in World War II he resumed his film career, but he became endlessly confined for years playing ethnic roles in undistinguished minor films, BLACK NARCISSUS (1947) being the one great exception. His final movie, Walt Disney's A TIGER WALKS (1964) was an improvement, but it was too late. Sabu had died of a heart attack in late 1963, only 39 years of age.
Jingoistic nonsense, but...
Leofwine_draca19 August 2012
...nevertheless I ended up greatly enjoying THE DRUM! Conceived as a vehicle to cash in on the popularity of child star Sabu (who'd just appeared in ELEPHANT BOY), THE DRUM is a film which fondly reminisces over the glory days of the British Empire. The film is set in the Northwest Frontier of India in the dying days of the Raj, where the occupying Brit troops are stiff-upper-lip possessing heroes and the Indians are divided into loyal subjects and dastardly moustache-twirling villains.
Into this mix is thrown Sabu, playing a slightly conceited but nonetheless loyal young prince, whose friendship with a youthful red-headed drummer leads to plenty of laughs. The plot begins aproper when the dastardly Prince Ghul (Raymond Massey) decides to lead an uprising against the just Captain Carruthers (Roger Livesey, the epitome of the kindly British gentleman).
Director Zoltan Korda possesses the ability to make his film look great, full of gung-ho battle scenes and convincing depictions of British colonialism - although the film was actually shot in Wales and most of the Indian characters are Brits in blackface! Still, Valerie Hobson is breathlessly beautiful as Carruther's sensitive wife, there's a pleasing hard edge to the violence (with severed heads tossed through windows and bloodshed) and a great climax which gives the film its title. They sure don't make 'em like this anymore!
Into this mix is thrown Sabu, playing a slightly conceited but nonetheless loyal young prince, whose friendship with a youthful red-headed drummer leads to plenty of laughs. The plot begins aproper when the dastardly Prince Ghul (Raymond Massey) decides to lead an uprising against the just Captain Carruthers (Roger Livesey, the epitome of the kindly British gentleman).
Director Zoltan Korda possesses the ability to make his film look great, full of gung-ho battle scenes and convincing depictions of British colonialism - although the film was actually shot in Wales and most of the Indian characters are Brits in blackface! Still, Valerie Hobson is breathlessly beautiful as Carruther's sensitive wife, there's a pleasing hard edge to the violence (with severed heads tossed through windows and bloodshed) and a great climax which gives the film its title. They sure don't make 'em like this anymore!
Out of Tune
scorfield-517116 September 2016
Warning: Spoilers
'It is wrong to try to avoid the struggle against imperialism under the pretext that independence and Revolution are important, but that peace is still more precious' Kim il Sung
A spirited, patriotic, production imbued with an idyllic representation of the benevolence of British rule, released at a time when the Empire faced the dual threats of increasing nationalist resistance and the rise of fascism. As part of the defence of British and imperial values, the Korda brothers would produce a series of unashamedly propagandist features to highlight the merits of British colonialism. Ironically, the director of many of these productions, Zoltan Korda, would often clash with his brother over such material, given his own cherished liberal and socialist ideals. This film is based on a novel published just twelve months earlier by AEW Mason, to whom the Korda brothers would return the following year for a film adaptation of his most famous story, 'The Four Feathers'. The eponymous instrument in this production will augur the fall of imperial rule over the fictional principality of Tokot, with the marking of the massacre of British troops invited to a banquet held supposedly in their honour by the local treacherous khan. Tokot is notionally set in an area of historical unrest on the northern borders of the 'Jewel of the Imperial Crown', and one of the film's biggest draws is the glorious Technicolor cinematography used to full effect in capturing the majestic landscape of the North-West Frontier – Snowdonia in reality. This film also marks the second appearance of Sabu, and though written as a vehicle for this newly acquired teenage star and creating a wave of rave reviews in Hollywood, his performance suffers slightly due to his lack of sufficient screen time. His being cast as the young prince has a real touch of irony in that prior to being discovered he had followed in his father's footsteps as the ward to the Royal elephant stables to a local maharajah. The plot has our young prince, and true heir to the throne of Tokot, forced to flee his lands and assume the identity of a mere beggar boy on the streets of the Raj, after his uncle's usurping of his murdered father's title. In exile, the impressionable teenager seeks to warn his father's benign and paternalistic British masters of the threat his uncle poses to their continued rule. The stoic Ronald Livesey in the role of Captain Carruthers, though a consummate actor, is far from convincing as a dashing action hero. Yet, he is ably supported by the graceful and unflappable presence of his wife, played competently by Valerie Hobson - qualities she herself would be required to display years later off-screen as the besieged partner of scandal-ridden politician John Profumo. Despite being penned by the creator of one of the hallmark yarns depicting imperial adventure, 'The Four Feathers', the plot of this adapted production fails to move beyond first gear. Moreover, this unashamed defence of Empire is reputed to have sparked nationalist riots in India. Yet, despite its lack of political correctness, the film remains a watchable and colourful spectacle due to the aforementioned photography, the rousing action finale – where the movie's tagline of 'a cast of 3000' is no mere hyperbole – and above all to a wonderful performance as pantomime-like villain, Prince Ghul, by Raymond Massey.
A spirited, patriotic, production imbued with an idyllic representation of the benevolence of British rule, released at a time when the Empire faced the dual threats of increasing nationalist resistance and the rise of fascism. As part of the defence of British and imperial values, the Korda brothers would produce a series of unashamedly propagandist features to highlight the merits of British colonialism. Ironically, the director of many of these productions, Zoltan Korda, would often clash with his brother over such material, given his own cherished liberal and socialist ideals. This film is based on a novel published just twelve months earlier by AEW Mason, to whom the Korda brothers would return the following year for a film adaptation of his most famous story, 'The Four Feathers'. The eponymous instrument in this production will augur the fall of imperial rule over the fictional principality of Tokot, with the marking of the massacre of British troops invited to a banquet held supposedly in their honour by the local treacherous khan. Tokot is notionally set in an area of historical unrest on the northern borders of the 'Jewel of the Imperial Crown', and one of the film's biggest draws is the glorious Technicolor cinematography used to full effect in capturing the majestic landscape of the North-West Frontier – Snowdonia in reality. This film also marks the second appearance of Sabu, and though written as a vehicle for this newly acquired teenage star and creating a wave of rave reviews in Hollywood, his performance suffers slightly due to his lack of sufficient screen time. His being cast as the young prince has a real touch of irony in that prior to being discovered he had followed in his father's footsteps as the ward to the Royal elephant stables to a local maharajah. The plot has our young prince, and true heir to the throne of Tokot, forced to flee his lands and assume the identity of a mere beggar boy on the streets of the Raj, after his uncle's usurping of his murdered father's title. In exile, the impressionable teenager seeks to warn his father's benign and paternalistic British masters of the threat his uncle poses to their continued rule. The stoic Ronald Livesey in the role of Captain Carruthers, though a consummate actor, is far from convincing as a dashing action hero. Yet, he is ably supported by the graceful and unflappable presence of his wife, played competently by Valerie Hobson - qualities she herself would be required to display years later off-screen as the besieged partner of scandal-ridden politician John Profumo. Despite being penned by the creator of one of the hallmark yarns depicting imperial adventure, 'The Four Feathers', the plot of this adapted production fails to move beyond first gear. Moreover, this unashamed defence of Empire is reputed to have sparked nationalist riots in India. Yet, despite its lack of political correctness, the film remains a watchable and colourful spectacle due to the aforementioned photography, the rousing action finale – where the movie's tagline of 'a cast of 3000' is no mere hyperbole – and above all to a wonderful performance as pantomime-like villain, Prince Ghul, by Raymond Massey.
Humour, heroics and Sabu
Igenlode Wordsmith16 August 2005
From 'Kim' to 'Carry On up the Khyber', from the famous to the infamous (stand up, Harry Flashman!), the North-West Frontier has proved a fertile source of conflict both fictional and historical... and deposed rulers and fiery mullahs have figured largely from that day to this. The plot of 'The Drum' cribs heavily (and at one point openly, with an impudently-inserted piece of dialogue listing the historical parallels that had been niggling at me!) from real-life events, especially in Afghanistan, and as other stories before and since have been based on the same material, this can result in a certain 'seen-it-all-before' sensation. But the winning element in this film is the touch of humanity and humour which helps the characters to become more than cardboard templates, from the drummer-boy and his misfortunes to the wry jests of the newly-appointed British representative walking open-eyed into a trap. Not to mention that, after a spate of films with seemingly pointless titles, I found it obscurely satisfying to encounter one where the eponymous instrument is actually significant both to the plot and its climax!
The always-excellent Sabu steals the film, as ever, in his role first as a self-possessed princeling and then as a fugitive in exile from his throne; the romantic leads, while well-performed, are less memorable. The tension in the banquet scene is tangible, and Raymond Massey as the usurper brings brains as well as menace to his role. The one element that rather shocked me -- with the exception of the inadvertent glimpse of buttock that reveals exactly what Scotsmen do or don't wear under their kilts! -- was the scene in which the said usurper is shot down by our wounded hero in cold blood, having thrown down his weapon. It's not customary for such an act to be depicted in an apparently approving manner; and certainly not in a film of this period...
I must admit that the question of the period itself had me slightly puzzled, although the mention of syncopation in the drum part for the dance should have given me a clue. I had automatically assumed the story to be set in nineteenth-century India in the heyday of the Raj rather than the contemporary world, and with few European civilian fashions on display, there was nothing to disabuse me of this until the heroine made an appearance in jodhpurs, which came as something of a shock! (And the subconscious resonance with the valleys of 'Carry On up the Khyber' turns out to be based in fact: locations from both were shot in Wales...)
But 'The Drum' is a rousing adventure as they used to make 'em, in the tradition of 'Charge of the Light Brigade' or 'Northwest Frontier'; if you like the genre, this one is a cracker.
The always-excellent Sabu steals the film, as ever, in his role first as a self-possessed princeling and then as a fugitive in exile from his throne; the romantic leads, while well-performed, are less memorable. The tension in the banquet scene is tangible, and Raymond Massey as the usurper brings brains as well as menace to his role. The one element that rather shocked me -- with the exception of the inadvertent glimpse of buttock that reveals exactly what Scotsmen do or don't wear under their kilts! -- was the scene in which the said usurper is shot down by our wounded hero in cold blood, having thrown down his weapon. It's not customary for such an act to be depicted in an apparently approving manner; and certainly not in a film of this period...
I must admit that the question of the period itself had me slightly puzzled, although the mention of syncopation in the drum part for the dance should have given me a clue. I had automatically assumed the story to be set in nineteenth-century India in the heyday of the Raj rather than the contemporary world, and with few European civilian fashions on display, there was nothing to disabuse me of this until the heroine made an appearance in jodhpurs, which came as something of a shock! (And the subconscious resonance with the valleys of 'Carry On up the Khyber' turns out to be based in fact: locations from both were shot in Wales...)
But 'The Drum' is a rousing adventure as they used to make 'em, in the tradition of 'Charge of the Light Brigade' or 'Northwest Frontier'; if you like the genre, this one is a cracker.
Anachronistic Kipling like history of the Raj
bkoganbing30 October 2012
AEW Mason who is best known for writing Four Feathers which has been filmed several times going back to the silent screen wrote the story for Drums. It's set in a more modern time between the two World Wars era of the British Raj. Seen today it is quite an anachronism.
Not everyone in India bought Mahatma Gandhi's policy of peaceful non-resistance to British rule. Some like Raymond Massey playing a usurping uncle like Richard III believed in war. Trouble is he's only an uncle, brother to the ruler of his local satrapy and uncle to the Crown Prince played by Sabu.
In fact Massey has been plotting for years quietly importing arms and lining up support. He kills his brother, but unfortunately doesn't get Sabu who seeks refuge with the British governor general Francis L. Sullivan.
It's the next step for Massey that he hopes will rally the native Indians to his side. He has plans to massacre a troop of British soldiers, Scot's Highlanders to be precise and among the folks there are Sabu's friends Roger Livey and wife Valerie Hobson and a drummer boy Desmond Tester whom he's befriended. What happens here is a slam bang action scene very well staged by Alexander Korda and brother director Zoltan Korda.
These two Hungarians who were the backbone of the British cinema never missed an opportunity cinematically to salute the virtues of the British Empire. In some quarters Massey might be considered a hero in what he's doing.
In fact the British never outrightly ruled India with the troops they had there. What they did is play off the various religious factions, Hindu, Moslem, Parsee, Sikh, Jain etc. and the various rulers of the hundreds of little kingdoms that were within India after the last Mogul Emperor died. Military advice and supplies and trade did the trick for them for a couple of hundred years. What you see in Sabu's relationship with the British is quite true and you can see that in many other films like The Rains Came which was made in the USA.
This was an expensive product for the British cinema. In the Thirties color was even more rarely used than in the USA yet the Kordas sprung for it. And they did a remarkable job in making location shooting in Wales look like India. The print I saw could have used a restoration and hopefully it has been done or will be done.
Drums is anachronistic for today's audience both in India and in the west. But it is history if slanted Kipling like history.
Not everyone in India bought Mahatma Gandhi's policy of peaceful non-resistance to British rule. Some like Raymond Massey playing a usurping uncle like Richard III believed in war. Trouble is he's only an uncle, brother to the ruler of his local satrapy and uncle to the Crown Prince played by Sabu.
In fact Massey has been plotting for years quietly importing arms and lining up support. He kills his brother, but unfortunately doesn't get Sabu who seeks refuge with the British governor general Francis L. Sullivan.
It's the next step for Massey that he hopes will rally the native Indians to his side. He has plans to massacre a troop of British soldiers, Scot's Highlanders to be precise and among the folks there are Sabu's friends Roger Livey and wife Valerie Hobson and a drummer boy Desmond Tester whom he's befriended. What happens here is a slam bang action scene very well staged by Alexander Korda and brother director Zoltan Korda.
These two Hungarians who were the backbone of the British cinema never missed an opportunity cinematically to salute the virtues of the British Empire. In some quarters Massey might be considered a hero in what he's doing.
In fact the British never outrightly ruled India with the troops they had there. What they did is play off the various religious factions, Hindu, Moslem, Parsee, Sikh, Jain etc. and the various rulers of the hundreds of little kingdoms that were within India after the last Mogul Emperor died. Military advice and supplies and trade did the trick for them for a couple of hundred years. What you see in Sabu's relationship with the British is quite true and you can see that in many other films like The Rains Came which was made in the USA.
This was an expensive product for the British cinema. In the Thirties color was even more rarely used than in the USA yet the Kordas sprung for it. And they did a remarkable job in making location shooting in Wales look like India. The print I saw could have used a restoration and hopefully it has been done or will be done.
Drums is anachronistic for today's audience both in India and in the west. But it is history if slanted Kipling like history.
Forget today's political correctness @ enjoy a spiffin yarn
alexander_caughey30 March 2004
Great morale booster for the British people, with another World War looming. Shows the bonding between British and Indians that contributed to the long sojourn of the British in India. Definitely a boy's film with all the majesty that the Empire films of the thirties could muster for audiences suffering from economic depression and worries over the rise of fascism and its onward march. Roger Livesey's character brings to life the type of relationship that so many British civilians and civil servants enjoyed with Indians, so sadly ignored/forgotten in the interest of history revision and political correctness.
This is a great British Empire movie in the tradition of Four Feathers.
sandy-j7 August 2000
The Drum is a great British Empire movie in the tradition of Four Feathers (the Korda version) and Gunga Din. Anyone who gets a thrill from the skirl of bagpipes and a last minute charge to the rescue will be delighted by this film.
Imperial Dash
xandar2721 March 2010
A rare opportunity to see a rip-roaring, all-colour, flag-waving vision of the British Empire - made by and for the people who supported and believed in it. Produced in 1938, less than a decade before a tired, post-war Britain finally quit India, this is an almost unique chance to witness the Empire's own view of itself. As such, it is a significant historical document.
Produced and Directed by the Korda Brothers from their London Studios, many of its scenes were actually shot in the Northwest Frontier of India, (modern Pakistan.) With the participation of the Gordon Highlanders and Indian Army, this has a spectacle that dwarfs many Hollywood features. The story, with its loyal "good" Indians, and treacherous "bad" Indians runs deep with the paternalist ideology which provided the justification for the later Empire. With a firm-jawed main character called Caruthers, (Roger Livesey), whose wife cannot endure the constant beating of the drums, the film seems to be the source of more than a few imperial clichés. Raymond Massey joins the cast as a convincingly sinister villain, and Sabu is the young princely hero. And although it jars today with its casual patronising of the Indians, and an assumption of an almost divine British right to rule far-off lands, it is a grand epic that reflects the last hurrah of a now-vanished era.
Produced and Directed by the Korda Brothers from their London Studios, many of its scenes were actually shot in the Northwest Frontier of India, (modern Pakistan.) With the participation of the Gordon Highlanders and Indian Army, this has a spectacle that dwarfs many Hollywood features. The story, with its loyal "good" Indians, and treacherous "bad" Indians runs deep with the paternalist ideology which provided the justification for the later Empire. With a firm-jawed main character called Caruthers, (Roger Livesey), whose wife cannot endure the constant beating of the drums, the film seems to be the source of more than a few imperial clichés. Raymond Massey joins the cast as a convincingly sinister villain, and Sabu is the young princely hero. And although it jars today with its casual patronising of the Indians, and an assumption of an almost divine British right to rule far-off lands, it is a grand epic that reflects the last hurrah of a now-vanished era.
Location of the film , The Drum
Mr Dad15 July 2001
The film location is always shown as India but in fact part of the film was shot in the snowdonia range of mountains, in a place called Cwm Bychan lake,llanbeder in the county of Gwynedd. My Father was an extra on this film and I noticed that no mention has ever been made that part of the filming was actually done in North Wales
Not Korda's best, but well recommended
TheLittleSongbird17 February 2011
The Drum is perhaps a little too short, and the story is slow-moving to start with. However, the story is a great one, and does have some memorable scenes especially the banquet scene which is very tense and the ending which is really quite stirring.
The Drum is also ravishingly photographed, the cinematography is gorgeous and does justice to the splendid costumes and sets. John Greenwood's music is also a nice touch, while the script is good and Zoltan Korda does a fine job directing. The acting is also good enough, Sabu is very beguiling and Roger Livesey is likable and benevolent. For me, Raymond Massey stole the show, he is truly wonderful as the irredeemably swinish villain.
All in all, well recommended, also the political incorrectness actually didn't bother me, but I'd say The Four Feathers is better. 8/10 Bethany Cox
The Drum is also ravishingly photographed, the cinematography is gorgeous and does justice to the splendid costumes and sets. John Greenwood's music is also a nice touch, while the script is good and Zoltan Korda does a fine job directing. The acting is also good enough, Sabu is very beguiling and Roger Livesey is likable and benevolent. For me, Raymond Massey stole the show, he is truly wonderful as the irredeemably swinish villain.
All in all, well recommended, also the political incorrectness actually didn't bother me, but I'd say The Four Feathers is better. 8/10 Bethany Cox
A live-action variation of "The Lion King".
mark.waltz10 April 2014
Warning: Spoilers
Consider the facts: Young Indian prince must go into hiding when his nefarious uncle murders his father to take over the throne. Protecting the English (replacing the silly wart-hog and meerkat), the prince tries to reclaim his destiny and bring liberation to the people while warning the British of the danger to themselves.
Lavishly produced and crowd-pleasing, "Drums features" superb performances by Raymond Massey as the villainous uncle and Sabu as the charming boy meant to be king. Sabu's non-acting is completely winning, and his friendship with British drummer Desmond Tester endearing as a vision of peace between different cultures. A fine British cast supports Sabu, with Valarie Hobson and Roger Livesay likable heroes out to protect the young prince.
Certainly made as a valentine to the British rule of India and to show the reign of the English in a favorable light, this might not serve to tell all of the truth about the British infiltration on the people of India. As entertainment, it certainly strives to present a favorable view of one side of the story, if not exactly presenting an opposite point of view. Historically, it may ring a few falsehoods to those who have studied the history of this time in Indian history. The viewer will have to take it upon themselves to make up their own mind of what is close to fact and what is more fantasy, or at least, propaganda.
Lavishly produced and crowd-pleasing, "Drums features" superb performances by Raymond Massey as the villainous uncle and Sabu as the charming boy meant to be king. Sabu's non-acting is completely winning, and his friendship with British drummer Desmond Tester endearing as a vision of peace between different cultures. A fine British cast supports Sabu, with Valarie Hobson and Roger Livesay likable heroes out to protect the young prince.
Certainly made as a valentine to the British rule of India and to show the reign of the English in a favorable light, this might not serve to tell all of the truth about the British infiltration on the people of India. As entertainment, it certainly strives to present a favorable view of one side of the story, if not exactly presenting an opposite point of view. Historically, it may ring a few falsehoods to those who have studied the history of this time in Indian history. The viewer will have to take it upon themselves to make up their own mind of what is close to fact and what is more fantasy, or at least, propaganda.
Great Technicolor Spectacle
dougdoepke28 May 2016
Plot-- British colonial rule in parts of India is imperiled by the murder of the local monarch by his sinister brother (Massey). Now the British contingent (Livesey, Hobson, et al.) must rely on the young pro-British nephew (Sabu) to rally against the usurper.
As a boy growing up in a small mid-western town, I never missed this epic and its companion feature Four Feathers (1939) in our theater. After all, where else in pre-TV middle America could all that scenic exotica be seen. The be-turbaned Indian natives, the be-skirted English soldiers, the high mountain passes, all in rich Technicolor, along with the rich pageantry of masses of people moving here and there. And shouldn't forget the crackling, if somewhat clichéd, storyline, along with a charmingly youthful Sabu, a gloweringly sinister Raymond Massey, and a slim, long-limbed Valerie Hobson. Then there's that thundering drum, along with slinky native girls and twirling British Highlanders. The Korda's certainly spared no expense and it shows, from spirited opening to satisfying close. Sure, the subtext amounts to British colonial propaganda that no longer wears well. Still, the lavish spectacle remains, a treat for the eye. Of course, I've changed in many ways from those earlier days, but the Korda production can still entertain and impress, if given half a chance.
As a boy growing up in a small mid-western town, I never missed this epic and its companion feature Four Feathers (1939) in our theater. After all, where else in pre-TV middle America could all that scenic exotica be seen. The be-turbaned Indian natives, the be-skirted English soldiers, the high mountain passes, all in rich Technicolor, along with the rich pageantry of masses of people moving here and there. And shouldn't forget the crackling, if somewhat clichéd, storyline, along with a charmingly youthful Sabu, a gloweringly sinister Raymond Massey, and a slim, long-limbed Valerie Hobson. Then there's that thundering drum, along with slinky native girls and twirling British Highlanders. The Korda's certainly spared no expense and it shows, from spirited opening to satisfying close. Sure, the subtext amounts to British colonial propaganda that no longer wears well. Still, the lavish spectacle remains, a treat for the eye. Of course, I've changed in many ways from those earlier days, but the Korda production can still entertain and impress, if given half a chance.
I liked it!
JohnHowardReid27 February 2018
Warning: Spoilers
Lavishly produced and spiritedly directed, The Drum benefits greatly from its actual Indian locations - even though these are not always blended too convincingly with the Denham Studios material. The cast of course is great. Miss Hobson looks attractive, if somewhat thin by my standards of feminine beauty; the villainous Massey is deliciously wily; Sabu perfect.
A typical Korda production in that it's crowded with spectacle - all superbly photographed. A pity that despite clever film editing, the location scenes are a bit obtrusive because photographed in a different style to the studio footage. Admittedly, it would be hard to match the beautiful textures created by Osmond Borradaile who after all had marvellous locations to inspire him and plenty of sun to light his scenes.
Yet with all the spectacle, some fans might feel justified in complaining that the movie is somewhat short on bloodthirsty action. As someone more interested in pageant and color, in the exotic, and in times past, this sort of shortage doesn't worry me. The costumes look so splendid in color, the sets and the deployment of crowds of extras are to me sufficiently thrilling in themselves.
Always directed with competence, often with style, and superbly acted from the least to the most major roles, The Drum is a fabulously entertaining slice of Empire. (A Manga DVD).
A typical Korda production in that it's crowded with spectacle - all superbly photographed. A pity that despite clever film editing, the location scenes are a bit obtrusive because photographed in a different style to the studio footage. Admittedly, it would be hard to match the beautiful textures created by Osmond Borradaile who after all had marvellous locations to inspire him and plenty of sun to light his scenes.
Yet with all the spectacle, some fans might feel justified in complaining that the movie is somewhat short on bloodthirsty action. As someone more interested in pageant and color, in the exotic, and in times past, this sort of shortage doesn't worry me. The costumes look so splendid in color, the sets and the deployment of crowds of extras are to me sufficiently thrilling in themselves.
Always directed with competence, often with style, and superbly acted from the least to the most major roles, The Drum is a fabulously entertaining slice of Empire. (A Manga DVD).
Very un-PC and jingoistic but still quite fun at turns
bob the moo3 February 2004
In colonial India, the natives live happily and peacefully under the kind rule of their British masters. Representing the bond between the two nations, young Prince Azim befriends several of the British officers. However his uncle Ghul is less welcoming of the British and has dark plans to slaughter them and raise a rebellion among the tribes of the hills.
Some critics have pointed to the fact that, if this film were made today, it work spark outrage and be roundly condemned. This view ignores that, when the film was first screened in India in the late 30's, it sparked riots among the populace. However, the statement is true as well as being null and void, for there is zero danger of this film ever being made now! The plot is very pro-Empire and it is brazenly flag waving for the British. Looking back now, the film is laughable in it's depiction of it's characters. The British are kind and loving to all the Indians they encounter, while the Indians love them in return; those that don't are, of course, shifty and untrustworthy.
This is rather insulting if you think about it too much - I must admit I wasn't offended but then I am neither English or Indian and know little of the history that is clearly being twisted here in favour of propaganda. The film does have a nice vein of good humour to it though that prevents it being too heavy, while the battle scenes are of the `up'n'over' school of filming. The plot itself is too simplistic and can't keep the charade up - especially now that it will be clear to most viewers that it isn't a fair telling.
The cast are good, but again, there's no way that an `Indian' film would be shot today in Wales with the majority of the cast in blackface! The standout actor is Sabu. True his character is a little too good to be true but he has cheeky attitude and he is good fun throughout - just a shame his character seem to vanish for about a quarter of the film. The villainous Massey is also good fun and I enjoyed his performance. The British (namely Livesey and Hobson) are very stiff, although they do get the more heroic roles towards the end.
Overall this film is worth seeing as we will hopefully not see quite it's like again. The film is un-PC in casting, script, plot and characters, while the history it claims to tell is nothing more than a flag waving exercise that rightly started angry riots in Indian when it was shown there. However it is worth seeing for the period, the glorious (for the time) Technicolor and an amusing and fun performance from Sabu.
Some critics have pointed to the fact that, if this film were made today, it work spark outrage and be roundly condemned. This view ignores that, when the film was first screened in India in the late 30's, it sparked riots among the populace. However, the statement is true as well as being null and void, for there is zero danger of this film ever being made now! The plot is very pro-Empire and it is brazenly flag waving for the British. Looking back now, the film is laughable in it's depiction of it's characters. The British are kind and loving to all the Indians they encounter, while the Indians love them in return; those that don't are, of course, shifty and untrustworthy.
This is rather insulting if you think about it too much - I must admit I wasn't offended but then I am neither English or Indian and know little of the history that is clearly being twisted here in favour of propaganda. The film does have a nice vein of good humour to it though that prevents it being too heavy, while the battle scenes are of the `up'n'over' school of filming. The plot itself is too simplistic and can't keep the charade up - especially now that it will be clear to most viewers that it isn't a fair telling.
The cast are good, but again, there's no way that an `Indian' film would be shot today in Wales with the majority of the cast in blackface! The standout actor is Sabu. True his character is a little too good to be true but he has cheeky attitude and he is good fun throughout - just a shame his character seem to vanish for about a quarter of the film. The villainous Massey is also good fun and I enjoyed his performance. The British (namely Livesey and Hobson) are very stiff, although they do get the more heroic roles towards the end.
Overall this film is worth seeing as we will hopefully not see quite it's like again. The film is un-PC in casting, script, plot and characters, while the history it claims to tell is nothing more than a flag waving exercise that rightly started angry riots in Indian when it was shown there. However it is worth seeing for the period, the glorious (for the time) Technicolor and an amusing and fun performance from Sabu.
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