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A Reworking Of The 'Zulu Dawn' screenplay ?
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First of all I'm not suggesting it is possible to make a blockbuster out of a script written and made into a film a couple of decades ago.

However, every time I watch 'Zulu Dawn' I do feel there is some structure within the original screenplay to build on and make improvements.

For example, if the original film had the budget required to make a film in the same mould of 'Zulu', even with the script as it was, could it have been more successful ?

Think about a few of the many other aspects pointed out - If Stanley Baker had portrayed Col. Durnford. Uniforms, equipment, rifles, etc., equalling the quality in 'Zulu'. Numbers of actors and extras involved increased greatly, for the British forces and the Zulu army. More detail given to the location of units and better choreography for the fight scenes, such as the Zulu rushes against the firing line, similar to those in 'Zulu' when they attacked various points of the barricades.

Obviously, 'Zulu Dawn' hasn't the same 'epic' feel of 'Zulu', but I do think it could have done, but lacked funding and scale. The original 'Zulu Dawn' script should have been considered more of a draft, rather than the finished copy.

It still to me is very much a missed opportunity, because even with the script as it was, had the potential to make an impact.

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not as epic as Zulu
Tom516


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thats actually a rather ironic statement, considering that Isandhlwana was a bigger battle historically. I think though that Zulu Dawn is a lot more 'fun' particularly with its 'buddy cop' routine going on between Chard and Bromhead and its superb characterizations (Bourne, Witt, Hook, Hitch, Allen, Reynolds, Windridge, the Welsh baritone, Dalton, Adendorff, Scheiss and the two Jones', heck isn't that nearly everyone!). It also has many enjoyable cinematic conventions - I got to read the book finally, it's called AN INTIMATE HISTORY OF KILLING by Joanna Bourke and it's one of the best buys I've made. It's a psychological look at war, violence, training, war movies and the 'non-combattants' in war such as padres, medics and women (okay last one is arguable nowadays). Anyways, once thing it says there is that there's a certain cinematic quality about war that we are drawn to - I think it's an echo of our past, when Taillefer sang the Song of Roland before William the Conqueror at Hastings, or Blondel sang to King Richard, or Thomas Mallory wrote Morte d'Arthur at the height of the wars of the Roses. We recognize these narratives and want to emulate these narratives. They're the genre conventions.

So you got the buddy cop routine which has worked for the likes of Danny Glover and Mel Gibson (Lethal Weapon) Will Smith and Martin Lawrence (Bad Boys), Jacky Chan and Chris Tucker (Rush Hour), Buzz and Woody (Toy Story) or Will Smith and Tommy Lee Jones (Men in Black) - basically you take two protagonists, as different as you can make them, racially, economically, culturally, personality-wise and throw them into a place where they HAVE to cooperate, in spite of their differences. Thus you have the 'peaceful warrior' character of Chard who is 'just there to build a bridge' - note the metaphysical idea of 'a bridge', not just a bridge over the Tugela but a bridge between peoples, British and Boer and Zulu, something which is echoed by the multicultural defenders (Anglos, Welsh, Swiss, Boer) and the 'warriors saluting FELLOW braves' - and the aristocratic, effete, killer Bromhead (when we first meet him we hear his rifle - for all his snottyness he's a killer and a good one too, whether of animals or of men). Each has their own objective and their own way of doing things, but when the seemingly inexperienced peaceful warrior suddenly takes command, that's a recipe for conflict between protagonists, which is what makes most buddy cop movies click. Each has a reason to hate the other but find that only by working together can they survive.

So you got the 'buddies' and then you throw everything but the kitchen sink at them - Witt spreads dissention in the ranks, the 'reinforcements' of mounted infantry run off and (with Witt's prodding) the African soldiers also 'ook it', there isn't enough time to build the barricades and oh yeah, there's a Zulu impi heading your way - all of these build up the tension. You also worry about Margaretta, the oh so vulnerable and Christian daughter of Witt. From the start at 'Cetshwayo's Kraal' she's already sexualized - watching the half-naked dancing women, the object of lust for one Zulu warrior who pays for his impetuousity and for a bunch of 'red-necks' who, well, don't (she is near on 'violated' at least her dress gets torn) so she's a source of tension as well. Then when the Zulus get there, the buddies don't know which side they will hit them from, are there enough men, what about the men in the hospital (which catches fire!) and will they survive beyond the next assault (also, importantly, WHO will survive beyond the next assault - we grow fond of our number named and baritone singing Welshmen, the kooky criminal Hook, the slovenly Hitch, the slightly effeminate Dalton and the frightened Cole - who does, for the life of me, remind me of Timothy Hutton).

Then there's the chanting and the singing - it's all spectacle (never happened) but it darn well should have! It's like that moment in Casablanca when the nasty Germans have taken over Sam's piano and are singing Wacht Am Rhein and Viktor Laszlo, despite the risk, orders the band to play Le Marseilles (and Rick, despite risk to HIS 'neutrality' nods his agreement) - not a dry eye left in the theater! Men of Harlech is easily one of the most recognizable martial tunes along with the Marines Hymn and I suspect it may be due to this movie. I read a story (when I saw Zulu a long time ago and was looking for the lyrics) of how this choir of California college boys went to Hearst Castle and they were rather bored with all the ancient statuary and their tour guide was getting increasingly impatient with them. But when they got to the dining hall, which is decorated in medieval castle style, down to flowing armorial banners hanging from poles on the wall, they suddenly get caught up in the moment, get into formation and sing a stirring "Men of Harlech stop your dreaming, can't you see their spearpoints gleaming..." (because the young guy narrating it had heard it, guess where?) All is quiet and then the tour guide says, "Well I guess I had you boys all wrong... you're okay after all." Despite the fact that it never happened, this battle in song is another thing that makes the movie work and elevates it to the status of myth.

This in itself is not a bad thing. A comparable treatment was given to the movie that literally launched Tom Cruise into superstardom - Top Gun. Of course real fighter pilots don't walk around in cowboy hats, fly with their visors up, buzz the tower and get away with it and I'm not too sure how many leggy fishnet wearing civilian contractors there are in the US military but the movie isn't about reality - it's about creating this mythic image, an image of flyboys that has been with us since the brightly colored scarf-wearing, devil-may-care aviators of Ball, McCudden and Richthoven's flying circuses started blasting other fliers out of the sky. The military advisor of the movie quipped (when the military complained of inaccuracies) "I'm just trying to stop them from turning it into a musical!" But if you watch it, there IS a very powerful musical element in the film, the rock and roll soundtrack which permeates the picture. Danger Zone, Playing with the Boys, Take my Breath Away even You've Lost that Lovin' Feeling are just as real to the experience of the moviegoer even if they aren't (all) sung by the characters. It's the way we imagine Modern Air Combat to be (which of course it isn't).

This does not mean that you throw away the history book when you're making a picture but, like my prof would always tell me, you have to decide whether you're making a documentary or making a narrative. Even if based on actual events you have to make the story compelling.

Today, you get a lot of the difficult stuff more easily - armies can be created out of pixels, fight choreography is greatly improved (though if you get Martini-Henrys firing in 'bullet time' or the Zulus fighting with Kung-Fu moves well... ) but again the story tends to get lost in all the special effects. Sometimes it's not the story but the way it's told - not compelling enough.

Take Shekar Kapur's two movies Elizabeth and Four Feathers. With one its a historic story that is humanized and simplified with a very simple and powerful objective - will Elizabeth survive? And then we want to see how. Should she marry, and who should she marry? What about her first love, Dudley? What about her religion? Should she follow the congenial Burleigh or the ruthless Walsingham? The historic events like the Armada, Drake, Effingham, Raleigh, etc. are barely hinted at (the armada and England's 'piratical battles' are told through a simple dance sequence at court!) The story is kept simple. The actors are superb - Rush and Blanchett are always wonderful and Fiennes, Attenborough and the chap playing Norfolk are superb in their roles. Casting's got a lot to do with it.

Then you have Kapur's Four Feathers which drops the ball horribly. Casting could not have been more wrong and it does not help that the story itself is something of an anachronism in our modern world where cowardice can sometimes be condoned, what with Vietnam and shell-shock or Gulf-War syndrome. How can a modern audience understand how devastating a white feather can mean to a pre-1915 soldier? He does take plenty of imagery from the period (Play the Game - the playing fields of Eton - but surprisingly he forgets 'The Gatling's Jammed') and he gets names and some battlefield events somewhat right (even if they're Hollywood-ized) but he never explains the key points of military strategy and technology (how effective a square was against cavalry, the range of the rifles or their destructive power). The worst part is he is approaching it with a modern sensibility which just does not ring true to the period. Something of Zulu's 'bad old days' of latent racism (the Africans are 'noble savages' or 'cowardly blacks') rather than Wes Bentley's idiotic confrontation with the young sniper which is so horribly Politically Correct would have been more appropriate and more honest. There were too many darn stupid errors in that movie that just didn't make it work (and it was really shoddily edited as well).

Zulu Dawn was really more of a docu-drama than a 'war movie' in the Hollywood sense. If it was something more in the vein of a made-for-tv movie like Spottiswoode's HIROSHIMA then it would be forgivable (heck it HBO made it, it would probably have been great) but sadly movie audiences are quite impatient with history unless it's packaged in a somewhat mythic format (Titanic revolving around Jack and Rose rather than any historic figure - and those are kept around as window dressing, Gone with the Wind focusing on Scarlett rather than Sherman or Lee, Band of Brothers, like Battleship Potemkin, has a collective hero, the men of Easy Company 506th which you can take as a single collective heroic entity, much like the men of Rorke's Drift.)

Now if Zulu Dawn had been written from the ZULU point of view - Cetshwayo trying desperately to prevent a war (Chard character) with his veteran commander, nTshingwayo (Bromhead character), a war-freak family and cabinet, Dabulamanzi et al and the leader of his 'old guard' uThulwana harboring treasonous thoughts - you have one main goal, stay out of the war, but when that fails, it becomes, defend your turf (like, oh another 'Zulu' movie?) from a massive enemy invasion...

You got the right word - structure - but I suspect you may have been referring more to logistics? Bigger doesn't necessarily mean better. I mean you can have massive epic movies like Cleopatra or Waterworld which 'bomb' at the box office. For me it really boils down to story and script and Zulu's got it in spades.

Wow I didn't realize how much I wrote... sorry for talking too much!

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Tom

That was quite a reply.

Yes. 'Zulu' dominated the screen, with the storyline, images and the music.

However, 'Zulu Dawn', for all I enjoy watching it, didn't really feel 'epic' in any way, although there were a few of the scenes which showed promise, and I do like the soundtrack that I have on cd alongside the one for 'Zulu'.

Many, I think, when 'Zulu Dawn' was first released in the cinema, would have probably expected to be held spellbound by the film, maybe remembering the impact of 'Zulu'.

I'm not sure if 'Zulu Dawn' was more effective on the big screen.

By structure, although including scale, meaning to do with the dialogue being more engaging, as there would have been plenty conversation when Chelmsford was considering leaving the camp to go further into Zululand, the sightings of the Zulus on the ridge, Durnford's orders to/and arrival at the camp, Durnford and Pulleine's meeting covering orders, planned strategy, Durnford's intention to move out of camp, etc. etc.

Loads of tension building up due to the rapidly changing circumstances.

'Zulu Dawn' dialogue and scenes, especially the conversations between the senior officers, given more detail, much like Chard and Bromhead's when discussing how best to fight the oncoming Zulu impi, as well as the battle scenes being improved, including a lengthier version of the flight down Fugitives' Trail, considering that is the route the survivors took, including Melvill with the Colours and Coghill, as it wasn't a case of, once past the nek it's was all easy going. Far from it, instead being an exhausting, violent struggle for almost 2 miles.

With 'Zulu' we had Chard R.E. and Bromhead 24th. With 'Zulu Dawn' we had Durnford R.E. and Pulleine 24th. The possibilites of engaging the audiences with characters once more in a dire situation and how they and their men cope with being outnumbered and encircled by thousands of Zulu warriors, courageously fighting alongside their fellow soldiers.

I always feel that 'Zulu Dawn' could have worked, as I said previously, even with the script as it was, but obviously with improvements made during the filming, including attention to detail.

I'm sure there is a phrase which states that everyone deserves a second chance. So, how about a remake of 'Zulu Dawn', with the knowledge it may end up being the film that it was wanting to be first time round.

It may be a long shot, but it could be near to an 'epic' portrayal on the big screen of the battle at Isandlwana, which to me is very appealing.

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Tom516


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Well, the 'remake' today will definitely be quite different! And probably highly politicised.

http://news.yahoo.com/s/ap/20060301/ap_en_tv/ap_on_tv_the_unit;_ylt=AiASMuzre2wIhvXrctUbvclpMhkF;_ylu=X3oDMTBjMHVqMTQ4BHNlYwN5bnN1YmNhdA--

Check this out though... maybe if we could get David Mamet, Mike Snook and Ian Knight together...

Cheers,

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I've not viewed the above site as yet, but I'm sure that I noticed in another topic you mentioned how much you are looking forward to Sheldon Hall's book, because of your interest in film-making.

Well, the book is brilliant !

If already an enthusiast of the AZW, but also interested in filming or screenwriting (I'm very interested in the latter) aspects of this campaign, Sheldon's book is an absolute must !

Covering everything involved in the making of 'Zulu', highly detailed and lavishly illustrated, it also gives a fantastic idea of what it would be like 'on set' with the photographs taken during filming.

I've been interested in writing a new screenplay about Isandlwana, and always wondered what it would be like 'on set' while it was being filmed, walking around the camp area, seeing the actors portraying the participants - especially ol' Durnford, which would be a treat, but a little bit spooky as well, considering I'm an admirer of the man.

I've got the 'Zulu' film on video, dvd and the soundtrack on cd. I've even framed a copy of the cover unfolded and have it up on my wall (the same with 'Zulu Dawn' - one above the other) which is pretty effective. Now, having Sheldon's book, completes the collection.

Not far away from all of these is a screenwriting book.

So, you never know, years from now you might see a film titled - 'Shields' or 'Place Of Shields', about Isandlwana and written by me !

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Tom516


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Really looking forward to reading it! Well the closest I've come to that was during my East Coast tour about seven years ago and I had the blessed fortune to be at Gettysburg on July 2-3. Yup, right at the anniversary (was in D.C. on the fourth for the fireworks!) Anyway, you get the whole reinactor thing going and I was in hog heaven talking with fellows who were so serious about playing Joshua Lawrence Chamberlain or Richard Ewell or Bobby Lee that they would cut their hair and grow whiskers to look the part. They certainly would do better than some Hollywood actors who only want to look pretty on screen! I expect it will be quite a treat - stressful of course as you will probably be shooting on location but quite a treat.

Right now I'm wondering if I can shoot like short 'fan films' - like I was discussing with Johnny H - as there are many venues for screening these particularly online. Sometimes online publicity can get you farther than theatrical release.

Again it goes back to story - you need a good, darn good story. Something that is universal yet unique. I think if it starts with small period stories there may be enough interest generated to make something BIG later on.

Hmmm... you know I've got the Carbineers already, perhaps you could help me come up with a Bushman's river pass scenario for ZTW? Of course that means I'll have to model someone's favorite hero...

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During a couple of the documentaries on the 200th Anniversary of Trafalgar, the role of Nelson was portrayed by a historian.

However, I'm sure he is one of the 'living history' personality figures, which I guess means he appears at various events to explain about Nelson's life, the battle, etc.

Great, eh ? Imagine being an enthusiast of a campaign, but able to portray a historical figure you admire, for documentaries, etc.

Something similar, as mentioned above, to 'meeting' the participants from Isandlwana. Kind of surreal I would think.

Bushman's Pass ? Well, that may be a difficult scenario.

I'm not sure how you could portray it for ZTW.

Now, if you could include Durnford at Isandlwana, that would be quite something. Additionally, his uniform was excellent ! (see 'Zulu: Isandlwana and Rorke's Drift. by Ian Knight)

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closest thing to being there
Tom516


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and much safer... I think that you only need to hear the gushing remarks of the Titanic historians on James Cameron's set to know how nice it is to work on a historic film.

I think there's another, perhaps unmentioned, aspect to it. I read that ZULU was really Sir Stanley's pet project. Like Titanic was Camerons pet project, or the more recent work of Mel Gibson (Braveheart, Passion of the Christ). It shows too. I think that may have give these movies a bit of an edge because it is the film maker talking directly to the audience saying 'this is what I'm passionate about', not some hired artist putting someone else's work on screen.

At your recommendation we could do a 'Durnford at Isandhlwana' type scenario where you get to command Durnford's column and have parts of the 24th as computer controlled. The problem is, how to make it 'winnable' (what should be the victory conditions?) Another big problem I'm looking at is the apocryphal ammunition supply as a MAJOR drawback of the TW series is it never has portrayed logistics, particularly battlefield logistics (which I think is STUPID as looting the baggage train was always a key objective in battles. You'd think that with battles like Teutoberger wald they'd have included supply wagons... sigh) and I have really no way to simulate ammunition resupply when the bullets do run out. Perhaps we can give Durnford and the NNC less ammo so when their fire slackens, the Zulus can go forward... anyways...

Cheers,

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You're right about pet projects making a difference. Another being 'The Alamo', which was John Wayne's.

Pity there appears to be no-one in the film industry today, 'passionate' about a project involving a film about Isandlwana.

I did ask on a previous topic if it was known about any current actors who may have mentioned being an enthusiast of the AZW campaign and interested in making a film about it.

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Fellowsl...maybe we should write Denzel the famous black actor?
I'd think he could be a great fit for any of the Zulu commanders....
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Rich

Don't know about writing him, but I always thought he would be good in the role of Sergeant-Major Kambule in the N.N.H. under Durnford's command. I feel an accomplished actor like Denzel Washington could portray this participant, as more would be shown of his leadership of the N.N.H. when separated from his commanding officer(s) and taking the N.N.H. still fighting in a body down the Fugitives' Trail, before assisting the other men crossing the Buffalo, by giving covering fire.

In the film 'Glory' he portrays a character who encourages the men forward after his officer is killed, which I think is a good example of the role he would play in a film about Isandlwana.

The role of Zulu Commanders should (I feel) be portrayed by Zulu actors.

I'm sure I read somewhere recently that the Zulu people would have liked a film about Isandlwana.

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Tom516


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Denzel would certainly look splendid - and I daresay would bring the crowds!! That would be a dream casting. However then you'd have to make Simeon Khambula a major character - unless you're doing an ensemble piece (w/c I really don't recommend - so dicey to handle).

Or have Morgan Freeman as nTshingwayo... if you're making them important characters then you'd want people who can act credibly. I don't know, I've heard mixed reviews of movies like Shaka - from the African actors can't act to they can just about act. Of course if you're making a 'Zulu' movie then Henry Celle will want to get in on the act...

Who else thinks Djimon Hounsow (Cinque in Amistad, the token black sidekick in Gladiator and Four Feathers) would make a great Cetshwayo? (though I fear he is getting typecast in the role of the stereotypical black guy)... well he is a trifle 'thin' for the role I guess.

http://adorocinema.cidadeinternet.com.br/personalidades/atores/djimon-hounson/djimon-hounson01.jpg

Well if you want a movie done and are thinking of writing someone about it, why not try Oprah Winfrey? I heard that she went to South Africa and 'discovered' her ancestors were Zulu... I'm sure she has a bit of dough to spare for a splendid little picture...

Just thinking out loud there,

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Yes. I think Denzel would be great as a member of the Edendale Troop.

The actor you mention from the other film could suit the part of the warrior who left a detailed account of the battle, and if I'm correct, someone said of him, knowing the warrior had been involved in several battles, something along the lines of "....there's no doubt about it, he definitely liked a fight now and again."

As any new film about Isandlwana or Rorke's Drift would preferably have all British officers played by British actors, it may be only right for Zulu actors to play the Commanders, more for the participation in the battle(s) rather than long scenes involving dialogue.

In saying that, several non-British actors may portray some of the participants, as I imagine any film of this scale would probably be a U.K./U.S. combined effort, because of the financial aspects, so American actors (I think) would be expected to be included, even in roles 'outside' of the officers (Durnford, Pulleine, 24th, R.A.).

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Tom...

You know the Zulus wrote her back and told Oprah that unfortunately she was not of Zulu blood. I know she was disappointed!
Tom516


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Rich wrote:
Tom...

You know the Zulus wrote her back and told Oprah that unfortunately she was not of Zulu blood. I know she was disappointed!


Hehehe, didn't hear that but I kind of expected it.

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A Reworking Of The 'Zulu Dawn' screenplay ?
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