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The Charge of the Light Brigade (1968)

PG-13 | | Drama, History, War | 11 October 1968 (USA)
In 1854, during the Crimean War, poor planning leads to a British Light Brigade openly charging a Russian artillery position with tragic consequences.

Director:

Tony Richardson

Writers:

Charles Wood (screenplay), Cecil Woodham-Smith (additional source material "The Reason Why") (as Cecil Woodham Smith)
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Nominated for 6 BAFTA Film Awards. Another 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Trevor Howard ... Lord Cardigan
Vanessa Redgrave ... Clarissa Morris
John Gielgud ... Lord Raglan
Harry Andrews ... Lord Lucan
Jill Bennett ... Mrs. Duberly
David Hemmings ... Captain Lewis Nolan
Ben Aris Ben Aris ... Lt. Maxse
Micky Baker Micky Baker ... Trooper Metcalfe
Peter Bowles ... Paymaster Capt. Duberly
Leo Britt Leo Britt ... General Scarlett
Mark Burns ... Captain Morris
John J. Carney ... Trooper Mitchell (as John Carney)
Helen Cherry ... Lady Scarlett
Christopher Chittell ... Trooper (as Christopher Chittel)
Ambrose Coghill Ambrose Coghill ... Lt. Col. Douglas
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Storyline

A chronicle of events that led to the British involvement in the Crimean War against Russia and which led to the siege of Sevastopol and the fierce Battle of Balaclava on October 25, 1854 which climaxed with the heroic, but near-disastrous cavalry charge made by the British Light Brigade against a Russian artillery battery in a small valley which resulted in the near-destruction of the brigade due to error of judgment and rash planning on part by the inept British commanders. Written by Matthew Patay

Plot Summary | Add Synopsis

Taglines:

"Theirs not to reason why..."

Genres:

Drama | History | War

Certificate:

PG-13 | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK

Language:

English | French | Russian

Release Date:

11 October 1968 (USA) See more »

Also Known As:

A Carga da Brigada Ligeira See more »

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Box Office

Budget:

$8,000,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (theatrical)

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Tony Richardson was a notoriously difficult director. At one point he wanted the Guardsmen at the Battle of the Alma to wear blue tunics, which he thought would look better on-screen than the authentic scarlet. He only relented when his military and historical adviser, Boris Mollo, threatened to resign. See more »

Goofs

When Nolan falls from his horse in the final charge, he falls on his right side with his right arm above his head. However, when we see him at the end, as his friend Capt. Morris is walking past, he is now on his left side with his left hand above his head. See more »

Quotes

Lord Cardigan: Paymaster? Paymaster Duberley? That ain't a rank, it's a trade!
See more »

Crazy Credits

Closing credits roll over a drawing of a dead horse, with the buzzing of flies in the soundtrack. See more »

Alternate Versions

Although the cinema version was complete the 1993 UK video release was cut by 7 secs to edit footage of horse-falls. The 2008 Optimum DVD has the cuts length extended to 14 secs and features the 6 minutes shorter print as mentioned below. See more »

Connections

Featured in From the Journals of Jean Seberg (1995) See more »

Soundtracks

The Girl I Left Behind Me
(uncredited)
Traditional
Arranged by Trevor L. Sharpe
Heard before the Battle of the Alma
See more »

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User Reviews

Another time, another place
11 June 2001 | by Bobs-9See all my reviews

I do find it fascinating to come across obscure, almost forgotten films like this with familiar faces and famous actors in it. It was made ca. 1968, and in the true spirit of '68, it is strongly anti-war, anti-military, and anti-establishment, even though it is set in the Victorian era, the height of the Romantic age, when Military valor was largely celebrated. Military life is here portrayed in terms of ranks of men being bullied and brutalized by each successive rank above them, with the biggest, meanest and stupidest ones at the top.

I found it quite interesting to see the famous charge, celebrated in the romantic verses of Tennyson, portrayed in such a matter-of-fact manner as a series of tactical blunders due to bad communication and incompatible personalities among the commanders. These events were supposedly well-researched, and though I am not informed on the subject, I found this version of events very credible. Even with the high level of weapons and communications technology we have today, this sort of thing still happens. It must have been very common in centuries past.

To me, the dialog of this film and its delivery by the actors is its most remarkable feature. Seeing films that depict distant eras, I've often thought that these eras must have not just looked different from what we are used to, but sounded very different as well. If we were suddenly dropped into Victorian England, we wouldn't always understand what was being said or inferred to us. Words, phrases, gestures, facial expressions or body language that would have obvious meaning in that time and place would be strange to us. The language and syntax would, of course, be different, but so would the rhythm, pace, expressive color and accenting of the way people spoke. `Charge of the Light Brigade' does a remarkable job of not just looking, but sounding like a distant place and time. For a viewer who is not educated in antique British expressions and military jargon, as I am not, it makes watching this film a bit challenging, but it's like spending 130 minutes in the Victorian age as a so-called `fly-on-the-wall,' as the British put it. There was more than one line spoken after which I thought `say what?' But that's OK. It doesn't kill you, just encourages you to think a bit. This aspect of the film looks to be well-researched as well, a superb example of a somewhat talky script in which great care is taken with the language and its use by the actors. The script doesn't serve the purpose of an exposition device for the dumbest members of the audience, a very common vice in films, particularly big-money films engineered to alienate as few people as possible. It's an integral part of a design to recreate an unfamiliar time and place, and as such, a bit uncompromising.


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