Every struggle film, in adopting the attitude of one facet of a struggle as maximum do, dehumanizes the enemy to an quantity. Is Zulu, which starts offevolved with a tribal music and dance completed by means of Zulu extras but later reduces those tribesmen to senseless cannon fodder, responsible of this greater than most?
The debate will retain over whether or not or now not Cy Endfield’s jingoistic fight film is likewise innately racist; what’s indisputable is that Endfield’s re-enactment of the protection of Rorke’s go with the flow with the aid of 150 British infantrymen from 4,000 Zulu warriors is stirring motion cinema. Set almost absolutely in a barebones missionary station in the then-British colony of Natal, it’s a single-area film that makes the utmost of its dilemma: the views (of the location’s surrounding South African mountains) are magnificent, the warfare sequences are frenzied and desperate, and there’s a justifiably big name-making overall performance with the aid of Michael Caine, as an effete, entitled officer coming top beneath strain. If even potentially offensive filmmaking can nonetheless be art, then Zulu ought to be a minor Brit masterpiece.