Film Review: Farewell to the King (1989)

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(Edited)

(source: tmdb.org)

French writer and director Pierre Schoendoerffer left indelible imprint on Hollywood’s framing of Vietnam War. His experiences as documentary film maker embedded to French Army during First Indochina War resulted in widely praised 1965 live action film The 317th Platoon, while his coverage of US Army during Second Indochina War ended as famed 1967 documentary The Anderson Platoon. Both films heavily influenced makers of The Apocalypse Now, the best known of all Vietnam War films, including screenwriter John Milius. Schoendoerffer’s novel Farewell to the King was later adapted by Millius in his eponymous 1989 film.

The plot deals another war that raged in South East Asia, although few decades earlier, and is actually inspired by real life exploits of British explorer and military officer Tom Harrison. His fictional alter ego, who also serves as film’s narrator, is Captain Fairbourne (played by Nigel Havers), botanist who in early 1945 gets parachuted into Borneo, island occupied by Japanese troops, with the task of organising native tribes into guerilla force that would aid Allies during upcoming invasion. Fairbourne stumbles into the tribe of Dayak headhunters who call themselves “Comanches” and even speak some English. Answer to mystery comes in the form of their king, white man named Learoyd (played by Nick Nolte). He explains that three years ago he used to be US serviceman on Philippines and, before final Japanese conquest, deserted his post and sailed towards Borneo. There he found his way into deep into the inland jungle where Dayaks became impressed with his blue eyes and unusual tattoo. They not only adopted him into his tribe but even allowed him to fight and win kingship, after which he would unite various other tribes. Fairbourne wants his people to take part in the war, but Learoyd at first refuses, claiming that Second World War doesn’t concern him any more. He changes his mind only when Fairbourne warns him that the invasion would result in Japanese forces retreating inland with Dayak villages ending in their path, but agrees to take part only if his people are given proper weapons and training, as well as guarantees that they would keep their freedom after the war.

Farewell to the King was one of the most personal and ambitious projects for John Milius. His obvious intention was to make “larger-than-life” historical epic with exotic settings and plenty of action, very much like those made by David Lean. Milius also took inspiration from his work, which is best seen in scenes inspired by Apocalypse Now and Big Wednesday. The script was also in line with Milius’ world view which celebrated rugged individualism; this is something that characterises protagonist, a seemingly ordinary who, faced with adversity, manages to carve out personal kingdom in distant, remote and exotic part of the world, very much like protagonists of classic adventure tales like Joseph Conrad’s Lord Jim and Rudyard Kipling's The Man Who Would Be King, which are actually even mentioned in the film. Although Milius enjoys reputation of one of Hollywood’s rare right-wingers, content of Farewell to the King in ideological terms swing more to the left. The script is explicitly anti-imperialist and condemns European colonial empires and their treatment of natives as hardly better than Japanese. The protagonist is revealed to be disdainful of capitalism, pre-war labour organiser and even comes out as self-declared Communist.

Farewell to the King was supposed to be a grand film, but it never happened. It failed miserably at the box office, was greeted with usual lack of enthusiasm among anti-Milius left wing critical establishment and now represents one of the more obscure works in Milius’ filmography. Some of that fate is deserved, but the film is much better than its unenviable reputation might suggest. Farewell to the King, which was partially shot on authentic Borneo locations, looks great and in many scenes has “larger-than-life” epic atmosphere Milius tried to achieve. Nick Nolte is perfectly cast as Learoyd; he plays larger-than-life character who begins film as pathetic wretch only to convincingly transform into strong warrior, charismatic leader and, finally, wise statesman who sacrifices his own freedom for the greater good. British actor Nigel Havers is also good in the role of a man torn between scientific curiosity, sense of duty and feeling of guilt over inevitable betrayal of his new friend.

The most noticeable disappointment is the musical score of Basil Poledouris, composer whose soundtracks managed to elevate many films, including those of John Milius. His score for Farewell to the King is adequate, but not particularly memorable and often sounds very much like standard works of John Barry. Bigger problem for this film is in script at times looking unfinished; the most intriguing part of Learoyd’s story – transformation from prisoner into king – happens too quickly and lacks the suspense due to protagonist’s narration. Film loses a lot of rhythm in scenes that takes place in Allied headquarters and feature Fairbourne’s fiancee (played by Elan Oberon, who would later become Milius’ wife). Problems with pacing and tempo can be attributed by interference of Orion Pictures executives which, according to Milius’ claims, butchered the film, nowadays available in two very different versions – for US and European market. However, even in such sorry state, Farewell to the King is still an entertaining and exciting adventure that should be recommended as an example of films that they don’t make any more.

RATING: 7/10 (+++)

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