Shout at the Devil

source: Shout at the Devil

A tedious two-hour+ drag of a cliché 1970's historical action film. If you're not bothered by plot holes, cartoonishly absurd alcoholism as a running gag, racial stereotypes, bad acting, longwinded scenes that seem to serve no purpose and two dimensional characters then this film might be for you. This film has all the hallmarks of the kind of movie actors make when they desperately have to pay bills and it would probably be a favor to the memories of both Lee Marvin and Roger Moore if every copy of this film would suddenly vanish.

I feel I should mention that the version of "Shout at the Devil" that I watched was the full length 150 minute version. When the movie originally played in theaters, it had been cut by about half an hour. Normally, I feel that the original full length version of a movie is the version to see, but in the case of this movie, I think that the edited version might play better. I'm not saying that the full length version is bad, but I'm saying that it's too long for its own good. There is quite a considerable amount of padding on display, and as a result the movie moves quite slowly at times. There are some good things along the way all the same - there is some good action and suspense, the African backdrop is colorful and catches the eye, and it's fun to see Lee Marvin and Roger Moore paired up and generate considerable chemistry. So it's nowhere near a total loss. All the same, I think a more snappy pace would have helped things considerably.

SHOUT AT THE DEVIL is the splendid adaptation of the splendid Wilbur Smith novel about a British gent and an American poacher who take on the might of the German Empire in Africa in the First World War. As expected given the source material, it's an exotic and action-packed adventure yarn, delightfully old fashioned with it. The film wins plenty of kudos for the central pairing of Roger Moore and Lee Marvin, two larger-than-life actors who make for a great combination. Moore plays a slightly more serious riff on his usual persona, while Marvin is all swagger and drunken behaviour. The film wisely uses their potential for comedy by pairing them in lots of hilarious scenes, not least the never-ending fist fight. Of course, there's a serious story buried in here too, along with one or two devastating plot twists that only Smith could have come up with. Reinhard Kolldehoff is a thoroughly despicable villain, both pompous and cruel, and the countdown-timer denouement is as exciting as it was when I read the book years ago. If you like films that celebrate good, old-fashioned derring do, Dutch courage and thoroughly caddish behaviour, then you'll be sure to enjoy this one too.

Shout at the Devil is a harmless yarn, full of clichés, but easy viewing nonetheless. It's best to watch it when you're a little sazzled to ease the dullness, as with a clear mind this would be a tad too boring! Roger Moore plays himself as usual, an unflustered English gent who just happens to turn up in Africa as the Great War gets underway! He gets conned by Lee Marvin who plays a kind of likable old rogue and they end up at war with a ludicrously over the top Hun commander called Fleischer. Fleischer has all those brilliant German clichés, the big tash, the pointy hat and the jackboots. He also rides a tiny pony, making him even more ludicrous! Basically there's a load of chasing and shooting etc, before Roger wins the war in Africa, sort of........Not a terrible film, but hardly a classic!

Then watch "Shout at the Devil." There are other reasons, all good ones. Shot in 1976, thus with better quality film and presentation, "Shout at the Devil" isn't a remake of "African Queen". It has more of everything you want in a frontier war adventure; - more romance (between a British adventurer played by Roger Moore and the daughter of Lee Marvin's seamy ivory poacher, given complex, sympathetic life by Barbara Parkins) and - more explosions and pitched battles; more heart-wrenching tragedy and suspense; Only the finely balanced banter between Katharine Hepburn and Humphrey Bogart which made their earlier film still stand out as the definite classic compared with this later effort is missing. But it's still a very, very good film and rewards its viewer well. In this film, the work Humphrey Bogart did as both comic and romantic lead is split between Lee Marvin as the nearly completely unprincipled Col. Flynn O'Flynn (a self-commissioned Irish-American ivory poacher) and Roger Moore, as unfortunate British gentleman Sebastian Oldsmith. Oldsmith is Shanghaied by O'Flynn and his equally unscrupulous batman Mohammed into being everything from being a poorly paid "partner" to an aerial observer in a rickety 1914-model aircraft to reconnoiter over enemy territory, to finally become the central character in the movie's spine-tingling denouement. This film has everything for fans of high adventure - suspense, tragedy, moments of wild comedy, and characterizations that go beyond the standard formula fare. "Shout at the Devil" is better than average for a Lee Marvin feature; maybe not up to "Tell it to the Spartans" or "Cat Ballou," but definitely a worthy addition to an adventure movie fan's collection.

This guy seems to have been the most under-rated star in the Biz. His dry sense of humor combined with a subtle charisma made Lee Marvin one of the most likeable stars of the war movie genre. Here he played an older soldier, past his prime, that coaxes the younger Roger Moore into doing life-endangering things against the Germans. This is done with much humor, as Moore is in love with Marvin's daughter, and feels compelled out of family honor to do whatever he can. The action is really excellent, and the love story is touching. A must see for any war movie fan, and/or Moore fan. Marvin, himself, delivers another Marvin like performance, and reminds viewers of his earlier days from the film "The Dirty Dozen".

I decided to watch this FLICK on TV, because of the Historical Connection to WWI in the TV Guide Summary. The period history was weak, however I watched the entire film, because I wanted to know who the lead actress was, ie the Sandra Bullock of the 70's? The answer - Barbara Parkins. It's rather amusing that I'm smitten with her now after seeing this film and when I was a College Student in the 70's, I didn't have a clue about her. And the Movie wasn't bad either.

It seems incredible that the same decade which brought Star Wars to the silvery screen disgorged such unutterable tripe as this and many other 'adventure' movies. I am reminded of the similarly lavish, but equally wretched 'Ashanti' outlined elsewhere. Whatever motivated A-list actors to sign-on for such wastes of celluloid is frankly beyond this writer. They must have been very, very desperate. To be perfectly candid, Roger Moore's appearance in any movie is the kiss of death. Although extremely handsome in his youth, his entire acting career has been predicated upon an ability to raise one eyebrow. Every emotion from A to B is conveyed by this simple stratagem. His were the dog-days of James Bond. Lee Marvin on the other hand has featured in some very worthy outings, perhaps most memorably 'Paint Your Wagon' and 'The Dirty Dozen'. He has a comic streak, but he is much better when he plays it straight. The excellent Ian Holm is a throwaway, hardly recognisable blacked-up as a mute African. Everyone else just turned up for their pay-cheques. The only plausible and watchable element is the German cruiser. It looks like a very large model. But it is believably massive and appears authentic - as do its crew. The rest isn't even hokum. The childish comedy jars with the brutality and violence in a story that meanders clumsily about, as if the script itself had had too many whiffs of Lee Marvin's gin. Here is a director who simply doesn't know where he's going. There are hints of 'The African Queen', a snatch from 'The Pride & The Passion', 'Gold', and one or two other rip-offs from movies who's titles don't come readily to mind. Strangely, I have seen it 3 times, each occasion it has been shown on television when I have been laid low with a cold or the flu. Perhaps that is influencing my judgement - but not much. Compare it with any Indiana Jones movie and you will see what I mean. I have given it two stars; one for the battleship and the other because it finally comes to an end, though heaven knows it takes long enough to do that. Time for another Lemsip, I think.

The first thing you notice about this film is the racist MPAA. Despite it being rated PG for war violence, there was nudity. Breasts were exposed, but they weren't those of Barbara Parkins ("Peyton Place", Valley of the Dolls, and her skintastic moment in Breakfast in Paris), but of African natives. Seems that black breasts are not taboo for children to see. But, to the film itself. It is actually two films. The first half in 1912, has Lee Marvin (Cat Ballou, Paint Your Wagon) as a drunken ivory poacher who manages to get Roger Moore (The Spy Who Loved Me, "The Saint") to partner up with him. After Moore and Parkins (Marvin's daughter) plan to marry, there is a great fight scene reminiscent of many John Wayne pictures. Then the film changes. World War I is declared and the Germans are on the march led by Reinhard Kolldehoff (Moon Over Parador, "The Winds of War"), a big fat German pig whose men slaughter Moore and Parkins baby, and set them on a search for revenge. The film has plenty of action, including what I would call a paper mache bi-plane which almost takes Moore's life, and culminates in the blowing up of a German battleship that had run over Moore and Marvin earlier. Marvin was extremely funny and Moore looked just great painted black to get on the ship. Parkins was radiant throughout, even when consumed with revenge for the murder of her baby. Sir Ian Holm (Chariots of Fire) was also fantastic as Marvin's mute servant.