Beau Geste (1939)
A few months ago I wrote a review about Barbary Coast (1935) which saw the Western trying to survive in the guise of another genre, then the gangster which if you think about is/was an updated version of that genre. It was fascinating to see what is honestly a much forgotten film, even with Edward G. Robinson in the lead, a fish out of water whose the shark that swims with the fishes who are the genre. Staying with the 1930’s, and the struggling Western I came across the sub genre of the Victorian epic, a more familiar film is Gunga Din (1939) however I’d like to focus on Beau Geste (1939) also.
As Richard Slotkin explained in Gunfighter Nation it was the Western in a different guise, moving the action from one large nation to another, which could be England or France throughout their all-conquering empire. Here we have the French aristocracy and 3 English brothers who’ve been adopted into it. Before meeting the brothers we see a troop of the Foreign Legion arriving at an outpost, populate entirely with the dead soldiers who once occupied. You can see they all died in battle, hanging over the parapet in the fort. They have all met grisly ends, that much is clear, we don’t yet know how they reached that fate.
Jumping back 15 years we meet these 3 brothers as children in the comfort of a stately home in the country, playing war in the pond with model battleships complete with explosives. From a young age they want to go off and play war. When a side looses instead of leaving it as that, onto the next campaign they treat the loosing side with respect, sending the loosing side off into the waters, setting fire to them, enacting a Viking burial. They have a respect for the dead even at the tender ages of 10 if not younger. They have an understanding of gallantry and honor in the field of battle, something that we shall see come through in the film. After this scene we see the sale of a sapphire, however it doesn’t get passed the children who hide, one inside a suit of knights armor – Beau Geste, on the surface its funny to see the child hiding. He’s escaping into a soldier’s uniform that has probably seen battle. Now its acts as protection against unseeing eyes in peace time of France.
Moving forward 15 years again to almost the time we first started the film, we finally meet the adult brothers, who are not really English but young American stars, still who cares they sold tickets and I’m not going to knock Gary Cooper in anything from the 1930’s. It’s all happy families in the midst of the England which they will soon go out to protect. The young girl who knew the brothers, now a young woman Isobel Rivers (Susan Hayward) is now the affections for John Geste (Ray Milland). However before they leave the Blue Jewel, (not sure if it’s a sapphire goes missing in quick switching off of the lights. A family treasure’s stolen before them. Unusually before they begin to investigate they allow Isobel to leave, as she’s a woman she’s above suspicion. It’s gallantry of an old respectable world that sees her leave, Leaving only the men and Lady Patricia Brandon (Heather Thatcher) and the men to work it out.
They don’t get very far before the action soon moves to a desert in Morocco, two of the brothers Beau and Digby (Robert Preston) are now in uniform, they’ve done their training and now ready for to defend the Empire. It’s all one happy Empire out here, and the troops are keeping the peace. This can easily be translated to America, enlisted soldiers living on the fort, protecting civilians from “Indian attack”. In Geste the land around this is sand dunes for miles, they are the only civilisation for miles. The new recruits are about to be introduced, the scruff’s that have made it this far are ready to defend. These include the final brother John who can’t be separated from them for long, combined with a strong of duty to his country.
I haven’t even looked at the broken chain of command, the power-driven Sergeant Markoff (Brian Donlevy) who will do anything to take command from the dying outpost commander Lieutenant Martin has died after a long fever leaving disciplinarian in command of the fort. This allows him to work on the men, bearing down hard on them like never before, making life hard for them. Training is over and a new regime has come into force. Teaming up with none thief and spy Rassinoff (J. Carrol Naish) who inform him of an impending mutiny among the men. They’ve had enough of being worked to death in this inhospitable landscape, time to rebel.
With all this set-up we go into a much darker second half that sees the fort pushed to the limit of endurance of following the chain of command. The Mutiny is soon thwarted when Markoff blows it wide open, placing all but the Geste brothers under arrest, they are the only ones with bayonets, armed but unable to fire at their fellow-men. The chain of commands being tested when hostile or Moroccan forces who surround them. It’s time to put the mutiny and prisoners to one side and defend, it’s all men to their stations – about 30 odd. You can see from the first wave that it’s futile to keep up the attack for too long. However this is a film and the Legionnaires must win, at least for now.Each wave represent an attack by Native Americans, coming back with more expendable warriors to fall at the guns of the Blue coats.
As the men start to fall they aren’t left as they fell, instead in a unorthodox manoeuver the fallen are propped up, acting as number of things. A second defence to take the bullets, as decoy soldiers acting as an improvised illusion, the appearance of more men when there are far less. The men left alive carry on, but know that once they fall they’re bodies will receive the respect of the fallen. I’ve never seen such a tactic used in on-screen battle, it’s a desperate move by a desperate man who wants not only power but wealth that’s promised in the rumor of the Sapphire being in the possession of one of the Geste brothers, Markoff will do anything for it. The rules if war and chain of command mean nothing to him. In the far off outpost they are alone and at times have to make up their own rules. It’s up to the Geste brothers to finally remind us of what they learned back home in England, they are the opposite of what the officers above them represent.
Maybe now I need to see more Victorian epics and see how they translate to the Western, see how the legends are created for another empire that can easily be rewritten for another. My exploration of this genre never ceases to amaze me.