The British Empire, and especially the way in which it was created and maintained, has long been a source of inspiration for British authors of popular fiction. Among these writers, A. E. W. Mason stands out as a prolific author whose works have frequently been adapted for the screen. In 1938, his novel The Drum was brought to life in a film of the same name, notable for being one of the first major British films produced in colour.
The plot is set in the North West Frontier Province of the British Raj (today’s Khyber Pakhtunkhwa in Pakistan), a mountainous area on the border with Afghanistan and home to traditionally warlike tribes. The British have recently learned that the tribes were supplied and trained with the use of modern machine guns, so British Captain Carruthers (played by Roger Livesey) takes part in a mission to secure the support of the princely state of Tokot. Following the signing of the treaty of protection with the British, the ruler of Tokot is deposed and killed by his brother Prince Ghul (played by Raymond Massey), who appears to honour the treaty while secretly preparing a massive tribal uprising against the Raj. Ghul’s plan is to lure the British diplomatic mission into a trap and massacre the accompanying small British unit. The late ruler’s son Prince Azim (played by Sabu) has escaped to Peshawar and, after learning about Ghul’s plans, rushes back to Tokot to warn the British.
The Drum was produced by Alexander Korda, a Hungarian immigrant who wholeheartedly embraced Britain as his new home and actively promoted its colonial empire. Directed by his brother Zoltan Korda, known for his work on films like Sanders of the River and Four Feathers, the movie forms part of what is referred to as the "Empire trilogy." The film had a large budget, visible through lavish sets, exotic costumes, and a multitude of extras, all captured in the vibrant hues of three-strip Technicolor. It was predominantly shot indoors, with some scenes shot in the Welsh hills and authentic locations in the Northwest Frontier Province, such as the princely state of Chitral (whose ruler was thanked for his co-operation in the film’s credits).
The ensemble cast delivers solid performances, with Sabu, a young Indian actor who would later rise to fame in The Thief of Bagdad, shining in his role. However, the contrast between his authenticity and the less convincing portrayal of his uncle by Raymond Massey, a Canadian actor under heavy makeup, is noticeable. Roger Livesey captures the essence of the stiff-upper-lip British protagonist, while Valerie Hobson, one of the most glamorous actresses of 1930s British cinema, adds depth beyond mere aesthetics. The supporting cast, composed of seasoned character actors, complements the leads by effectively playing soldiers, with notable contributions from child actor Desmond Tester as the British drummer boy who befriends Prince Azim.
Zoltan Korda's direction maintains a brisk pace, culminating in spectacular combat sequences near the end. The Korda brothers' commitment to authenticity is evident in the film's depiction of the British Raj, showcasing real weapons, equipment, and military tactics of British forces, which looked more convincing than contemporary Hollywood films with the same subject.
Alexander Korda's enthusiasm for the British Empire wasn’t shared by everyone, particularly in India amidst the growing independence movement. The screening of The Drum sparked riots in several Indian cities.
Setting aside its political implications, The Drum remains a noteworthy example of adventure cinema, offering a thrilling experience for fans of the genre. Its blend of escapism, historical spectacle, and engaging performances makes it a film worth recommending to those seeking a taste of old-school cinematic adventure.
RATING: 7/10 (+++)
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