Stanley Baker’s ‘Zulu’ is a 1964 film we grew up watching once or twice a year in Britain. For all that time, it is still fresh and highly enjoyable.

It is one of those films that manages to be fascinating but doesn’t bore the viewer. It is a simple enough tale: less than 200 men of the British 24th Regiment of Foot fight and win against the might of thousands of bloodthirsty Zulu warriors.

It is one of those films that has almost become embedded in the British psyche. We remember Zulu as a quintessential Christmas film to be watched with the family, along with such classics as the propaganda movies, ‘The Great Escape’ and The Sound of Music’.

It is a film that is remarkable, not least for being one of Michael Caine’s first films and also for the fact that it was a low-budget film where all the extras were either serving South African soldiers or members of the Zulu nation.

It might be because of this realistic setting and also the fact that some of the descendants of those who really were at the battle of Rorke’s Drift were in it that the film has a certain realism that is not eclipsed by time.

The battle scenes themselves are ahead of their time with some innovative camera work and no lack of focus on the fact that it is two sets of humans who are fighting here and that nobody wants to die.

This is particularly evident in the hand-to-hand combat scenes where Stanley Baker (as Lieutenant Chard), Michael Caine (as Lieutenant Bromhead – both real warriors of the real battle) and their men fight off the Zulu warriors in-spite of being heavily outnumbered.

This focus on the humanity of the Zulus is part of the film’s agenda, which is to be commercially successful by re-enacting a classic moment in British history while also seeking to push leftist notions of the equality of man and how Apartheid (separate ethnic development) was supposedly ‘evil’.

This leftist focus is also evident towards the end of ‘Zulu’ when Bromhead describes his feelings to Chard in terms that one would expect from a peacenik rather than a soldier on campaign: he ‘feels ashamed’.

The logical question to this little bit of political spiel is: why would a soldier who has just saved his skin and those of his men by fighting heroically against all the odds feel ‘ashamed’?

If anything, he should feel a strident pride in what he has done: he has saved his life and those of the men dependent on his ability and judgement as a commander. That is triumph and not a tragedy as the film directly suggests.

For all this political message, ‘Zulu’ is a truly European film since I cannot find any of Hollywood’s toxic anti-White influence in the production or writing team whatsoever. Even the actors and actresses are – as far as we can see – Europeans.

It is as such a fine example of what European cinema can do when it is not chained down by the degenerate anti-White desire fostered among the people by Jewish film moguls. TELL US WHAT YOU THINK

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