Surprisingly incoherent and boring

In truth, there is barely enough story here to make a film.

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

The title "The Long and the Short and the Tall" is taken from the lyrics of "Bless 'Em All", a rather nonsensical soldiers' song from the First World War which enjoyed fresh popularity during the Second. It would appear that the song is not well-known across the Atlantic, as it was released as "Jungle Fighters" in both the USA and Canada.The action takes place during the Burmese Campaign of 1942. Seven British soldiers on patrol in the jungle capture a Japanese prisoner whom they nickname "Tojo". Much of the action revolves around their arguments over what to do with him. Their commander, Sergeant Mitchem wants to take the prisoner back to headquarters for interrogation. Several others, especially Mitchem's second-in-command Corporal Johnstone, want to kill him, but one man, Private Bamforth, argues strongly that they should spare his life and that killing a prisoner would be a war crime.The film was based on a stage play by Willis Hall. In the play Bamforth had been played by Peter O'Toole, and the director Leslie Norman (father of the well-known critic Barry) wanted to cast O'Toole in the film as well. The producers, however, wanted to go for a "big name"- apparently O'Toole did not count as such in 1961- and insisted upon Laurence Harvey. This proved to be a mistake, and not only because Harvey quarrelled not only with Norman but also with his co-stars Richard Todd and Richard Harris. Harvey's performance is the main reason why I disliked the film.In the opening scenes Harvey is not too bad, if you can overlook his rather dodgy Cockney accent. Bamforth is, to put it mildly, a difficult customer. He is the sort of barrack-room lawyer who knows the King's Regulations inside-out except the parts which state that insubordination and disobedience to orders are offences against military discipline. He takes a great delight in baiting his superiors Mitchem and Johnstone, but he does not just have a problem with authority. He has a problem with the rest of the human race, and dislikes his fellow privates as much as he dislikes the NCOs. He makes no effort to conceal his prejudices against people from other parts of Britain- he himself is a Londoner- and his constant taunting of his colleagues Lance-Corporal Macleish (a Scot), Private Evans (a Welshman) and Private Whitaker (a Northerner) is mean-spirited stuff, not mere friendly banter.The trouble is, Harvey works so hard to establish his character in the audience's mind as a complete bastard that we do not believe him when Bamforth suddenly and unexpectedly emerges as the conscience of the detachment, especially as he originally tries to humiliate Tojo by addressing him in a patronising pidgin English. ("Flingers on Blonce!"- this being how Bamforth imagines the Japanese would pronounce "Fingers on Bonce!" He is evidently unaware that the Japanese have difficulty with pronouncing the letter "L", which does not exist in their language, and certainly would not try to insert it into English words where it does not belong). Now Hall, Norman and Harvey probably intended us to accept Bamforth's attempts to do the decent thing as quite sincerely meant, but I was left with the impression that this was only part of his ongoing campaign against authority and that if the rest of the detachment had wanted to spare Tojo, Bamforth would have voted to kill him.Of the other actors, the best is probably Harris as Johnstone, a man who finds it difficult to keep his violent emotions under control. Todd was something of a specialist in war films (as were some other British actors of the period, such as John Mills and Kenneth More), but he makes Mitchem a rather anonymous figure and this is not his best performance.Norman would have preferred to shoot the film on location, but during this period the British film industry rarely had the financial resources to travel abroad for filming, and the jungles of South-East Asia were definitely off-limits. ("Bridge on the River Kwai", although many of its stars were British, was actually an American film). The film, therefore, had to be made in a studio, and it shows. The budget for creating realistic scenery was obviously limited.Both play and film were controversial when they came out. They were particularly unpopular among British veterans who had fought in Burma, partly because of the implication that British soldiers might kill an unarmed prisoner, but also because the patrol are portrayed as an incompetent and undisciplined rabble. The play was at one time popular as a set text for English Literature O-Levels, although (as with many set texts) this may be a reflection not of its literary merits but of the fact that it is an easy work to write an essay about. I have never seen the play on stage, but then it is rarely performed these days. As for the film, it comes across as very dated today. Its main point of interest is that it represents a move away from the gung-ho, patriotic war films of the fifties towards the more questioning, sceptical world view of the sixties, but it does not represent a very interesting treatment of its theme. 4/10

THE LONG, THE SHORT AND THE TALL (aka JUNGLE FIGHTERS) 1961This 1961 UK production takes place during World War two in the Burmese jungle. The film stars, Richard Todd, Richard Harris, David McCallum, Laurence Harvey, Ronald Fraser, John Rees, John Meillon and Kenji Takaki.Richard Todd is in charge of a squad testing some "sonic" warfare gear in the Burmese Jungle. The equipment, loudspeakers etc is to be used to fool Japanese about troop movements etc. The tests are not going well and Todd orders the squad deeper into the jungle to try a diff location.The squad is made up of a group of men who all have a beef with each other, the jungle and the army in general. The biggest arse of the group is played by, Laurence Harvey. Harvey would much rather be home in London than rotting in the jungle. He makes sure everyone knows his views on everything. This in particular rubs the unit corporal, Richard Harris the wrong way.The squad holes up in an abandoned tin mine to get out of the daily rains. The close quarters, of course brings out the worst in the bunch. They are soon at each other over everything. (The stage origins of the film are evident as the scenes are quite heavy with dialogue) There is even a fight between Harvey and Ronald Fraser.David McCallum, the man in charge of the radio gear, picks up a Japanese signal. McCallum figures from the strength of said signal, that the Japanese are very close. Just then, a single Japanese scout wanders into the area of the mine. The man, Kenji Takaki, is captured when he enters the building the men are hiding in.Sgt Todd sends several of the men, Fraser and Meillon out to have a look further up the trail. Todd figures it is time for the squad to hightail it back to headquarters. The news about the Japanese being this close needs to be turned in. The squad radio is having trouble reaching to the British camp.Fraser and Meillon are soon back to report to Todd that there are indeed Japanese troops coming. They had a run in with two of the Japanese, killing one. Todd orders all to grab their stuff for a bug out. Todd had originally wanted to take the prisoner along, but now decides it will just slow them down. Of course there is an argument about who is to kill the Japanese soldier.They drag the man along planning to dump him up the trail a piece. Now they find that the escape route they planned on using is flooded from the afternoon rain. The squad will need to wait a few hours for the water level to drop before continuing. This of course leads to more bickering among the squad.By the time the squad gets a move on, the Japanese advance forces have closed in. Todd fights a rear guard action while he sends Harris and the rest forward. Harris and the others however run right into an ambush and are shot up. Harris, though wounded, staggers back to where Todd is firing on the Japanese. The Japanese though are far too many and the entire patrol is wiped out.

Where to begin? I'm not a war monger, just a realist. These guys are fighting in WW2, not Vietnam. Their generation was the generation of the Empire; I grew up with this generation (I'm 60). They are in the middle of the Burmese jungle (horrible) with Japanese soldiers probably in the vicinity. Its war so 'kill or be killed'. There was no Geneva Convention in the Japanese war. They the Japanese fought cruelly and brutally. Fact. They treated POWs appallingly. Fact. This was a perverse 'bushido' (similar to Islamic notions of jihad/Martyrdom/Suiciding) so nothing to do with the supposed 'evils of Western Imperialism'. The British Army knew this. So in that context, a story of a bunch of soldiers in the middle of the Japanese jungle, surrounded by this enemy, and acting like they're in a West End stage production makes no sense. Lawrence Harvey's character shows no awareness of being in a dirty war. Richard Todd's sergeant is barely in control. Richard Harris' corporal is not much better. In the middle of such a barbaric context so much 'moralising' is both unreal and ridiculous, and insulting to the British and Empoire troops who had to fight and die out there. They were 'the Forgotten Army'. It was many times worse than the West European or Med/ME theatres of conflict. Unfortunaely this was the first of the post-war generation 'morality and psychology' movies about the war. its pure nonsense. But its effect led to debacle of Vietnam in the 70s and finally to the most recent debacles in Iraq and Afghan. The West wallowing in its own moral ambiguity and assumed self-righteousness. While the East of Vienna countries from Turkey and Russia to China/Japan went their own way. This was the beginning of Western self-doubt and decline. Where has it got the West? Not very far... This is the first and last time I will watch this film. I gave it 2 for technical merit and because I like Richard Todd. Leslie Norman (father of Barry) has made much better films than this.

Indeed, I believe this is the best movie ever made. I saw it first when I was a teenager, and its effect on me was astounding, although I didn't know the title. Twenty years later I learned the title, and it is still the most profound war movie ever made. It proves you don't need a gigantic budget and special effects to have a super story, and a script, in my opinion, is the biggest reason to see a movie. If you don't like great scripts, profound themes, believable characters, great acting and directing, you won't understand what makes this movie great. The characters and fight scenes are uncannily realistic, with human blows and emotions instead of the silly choreography look you get in the modern "dork" fight scenes that leave your eyes wandering in disdain. I won't give away much except to say the plot is much like The Ox-Bow Incident and Southern Comfort. Probably not for right wing war mongers, but it may be just what they need to see.