Reel history | Khartoum: blackface Olivier scrapes the bottom of some macabre barrels (original) (raw)

Director: Basil Dearden Entertainment grade: D+ History grade: C–

Muhammad Ahmad was a Sudanese theocrat and general who in 1881 proclaimed himself Mahdi, a redeemer expected by some Muslims to appear before the day of judgment. He conquered large swathes of the Nile valley and annihilated three Egyptian armies. Gradually, Britain became involved on the Egyptian side. Khartoum covers the section of the war that pitted Muhammad Ahmad against General Charles "Chinese" Gordon.

Casting

'The Exxxxpected One' … Olivier as the Mahdi. Photograph: Kobal

In the 1960s, casting agents must have actually said things like: "So, we need a Sudanese Nubian … how about Laurence Olivier?" Olivier, in blackface, looks nothing like Muhammad Ahmad. Things don't improve when he speaks. His stab at a Sudanese accent sounds like Sebastian, the singing Caribbean crab from Disney's The Little Mermaid, pretending to be a Russian spy. "Oh, beylovvids!" he says to his beloved followers. "I am the Mahrhrhdi! The Exxxxpected One!" It's particularly unfortunate when the film, inaccurately, has him meet General Gordon (Charlton Heston). Heston plays it straight, leaving Olivier looking even more like he has escaped from a racist panto. "I'm not a loving man, Muhammad Ahmad, but this land became the only thing that I have ever loved," Gordon says. "I am a poor man of the desert, but I am the Mahrhrhdi," replies Muhammad Ahmad. "The Exxxxpected One." Incredibly, this screenplay was nominated for an Oscar.

Imperialism

Going native … Heston as Gordon. Photograph: Kobal

The middle section of Khartoum gets tangled up in the complicated politics behind British intervention. The story of how Britain stumbled into an imperial adventure in the Sudan is potentially of even greater interest in 2009 than it would have been in 1966. The thing it isn't, though, is cinematic. It really does just come down to a lot of men with tufty facial hair sitting around in armchairs and vacillating. To liven things up, the film chucks in a few desert battles, though unfortunately these have been filmed and edited too ineptly to make sense. Meanwhile, a large crowd gathers in London, waving placards and chanting, "Save Gordon!" This looks suspiciously like a 1960s demonstration, but it is true that public meetings were held in Gordon's support.

Violence

Muhammad Ahmad again summons Gordon to his tent and tries to persuade him to leave: "You are not my enemy." "Oh, but I am!" cries Gordon. "We are so alike, you and I." Muhammad Ahmad tires of being patronised and has a rummage around in some bran tubs. He pulls out the head of Times correspondent Frank Power, before presenting Gordon with the hand of his aide, Colonel Stewart. "Is it not your own ring?" Power and Stewart were murdered by Mahdists, though it was Stewart's head that was sent to Muhammad Ahmad. There was no meeting at which Muhammad Ahmad attempted to intimidate Gordon with lucky dips full of bits of dead people, though he did write him a series of polite letters asking him to leave the Sudan so that further bloodshed might be avoided.

Battle

Bloodied … Heston in a scene from Khartoum. Photograph: Kobal

In a scene inspired by George William Joy's painting, The Last Stand of General Gordon, the Mahdists storm Khartoum. Gordon steps out to face them calmly. A reverent hush falls, and finally one hurls a single spear through his chest. This is heavily romanticised. The real Gordon came out shooting but ran out of ammunition on the staircase. The detailed account of one Mahdist suggests he was killed with a gunshot to the chest, not a spear, and that it was a mistake: in the dim light, they mistook him for a Turk. Afterwards, his head is brought on a stick to Muhammad Ahmad, who isn't pleased at all. "Take it away!" he howls. For a chap with barrels of severed body parts in his tent, this seems uncharacteristically squeamish – but, in real life, Muhammad Ahmad did specifically order that Gordon was not to be killed.

Verdict

Historically, Khartoum is hit and miss, with serious errors in direction, writing, editing, and Laurence Olivier.