|The Black Tent|
British theatrical poster
|Directed by||Brian Desmond Hurst|
|Produced by|| William Macquitty |
Earl St. John
|Written by|| Bryan Forbes |
|Based on||story by Robin Maugham|
|Starring|| Donald Sinden |
Anna Maria Sandri
|Music by||William Alwyn|
|Edited by||Alfred Roome|
|Distributed by||Rank Film Distributors of America|
|Box office||1,351,181 admissions (France)|
The Black Tent is a 1956 British war film directed by Brian Desmond Hurst and starring Donald Sinden, Anthony Steel, Anna Maria Sandri, André Morell and Donald Pleasence.It is set in North Africa, during the Second World War and was filmed on location in Libya.
During the British retreat through Libya, British officer Captain David Holland takes shelter with a Bedouin tribe and marries the sheik's daughter. After the war his younger brother, who had believed him to be dead, learns that he may be alive in Libya – prompting him to set out and search for him.
Along with Bengazi (1955), The Back Tent is one of the few feature films set in the last days of the British Military Administration of Libya from 1945 to 1951.
The film begins with Colonel Sir Charles Holland (Donald Sinden) receiving a note at his country estate and proceeding to London. He contacts the Foreign Office and is informed that his missing-in-action brother may be still in Libya.
The film goes back to a tank battle where blonde-haired Captain Holland (Anthony Steel) is sprawled unconscious beside his tank on the sand. When he comes to, he walks over the dunes until collapsing near a Bedouin encampment at an oasis. He is found by the sheik's daughter, Mabrouka (Anna Maria Sandri), who takes him to the camp which consists of several black tents.
The film skips forward to a point after the war when Captain Holland's brother, Charles Holland , is guided into the desert by Ali (Donald Pleasence) in search of his brother. They were drawn by a promissory note that had been given by Captain Holland to the Bedouin for their help and eventually taken to the British embassy for payment. Sir Charles sets off to discover the fate of his brother and eventually reaches the Bedouin camp. He is entertained by the camp's chief, Sheik Salem ben Yussef (André Morrel) and sees a young blonde boy in the camp. Later, the Sheik becomes angry at Sir Charles's line of questioning about his brother, the boy, and note and asks them to leave. Before they leave, Mabrouka gives Ali a sock containing Captain Holland's diary which he gives Sir Charles. The film skips back in time to recount the story within the diary.
Captain Holland, having been tended by Mabrouka, recovers. He learns that Mabrouka is the sheik's daughter and is betrothed to Sheik Faris (Michael Craig) from another tribe. When a German reconnaissance vehicle arrives at the camp, Captain Holland hides in some Roman ruins. The senior German officer then finds Holland's service revolver in a tent.
Mabrouka and Captain Holland become romantically involved to the obvious annoyance of Sheik Faris. He colludes with the Germans who return to the ruins where Holland and Sheik Yussef kill them and Faris. The romance between Captain Holland and Mabrouka deepens and they marry.
Learning of the British victory at El Alamein, Captain Holland seeks to return to the British lines but finds that his wife is pregnant. A group led by the Sheik and Captain Holland travel toward the British lines but come across a column of retreating Italian vehicles. Captain Holland sustains a fatal injury rescuing the Sheik.
The film returns to the present day with the Sheik handing Sir Charles a letter with his brother's will bequeathing his estate to his son. Sir Charles discusses this with his nephew but the boy decides to remain with the tribe and burns the letter.
The film was based on an original story by Robin Maugham, who had served in the North African Desert during World War II.It first appeared as a short story Pay Bearer £20 in Cheque Au Porteur. He later published a version of the story under the title "Desert Bond" in Chambers Journal. Maugham later included the story under the title "The Black Tent" in a later anthology of his writings published in 1973 called The Black Tent - and Other Stories.
In the early 1950s Robert Clarke of Associated British considered buying the screen rights to the story. He decided not to but eventually hired Maugham to be his assistant.
Producer Walter MacQuitty was an enthusiast of location filming - his most recent pictures included The Beachcomber.The film was shot at Pinewood Studios and on location in Libya. The film unit was mostly based in Tripoli. The lead actress was Italian appearing in her first English language film.
Star Donald Sinden had previously made Above Us the Waves with producer MacQuitty and Simba with director Brian Michael Hurst. It was an early film role for Michael Craig, who had recently signed to the Rank Organisation; it was the first time he made a movie on location.
The film used the site of the Roman ruins at Sabratha in Libya, which is by the sea,although the plot suggests that the camp is deep in the Libyan desert. This is a plot device to provide a bit of eye candy to the viewer and a reason for the Germans to visit in small numbers, like regular tourists.
The Observer had trouble with the reality of the story but thought "the scenery is impressive and the tents... are interesting.""Too bright, too clean, too polished", wrote The Times.
The Monthly Film Bulletin thought the "intelligently constructed" script was undermined by "disappointingly slack" direction.Filmink called it "entertaining".
The film was released in the US in 1957 on a double bill with Checkpoint , also starring Anthony Steel.
Turner Classic Movies calls the film "an odd duck... that has never received much fan love in its day or since, and in fact is barely remembered today. But it is, for one thing, the first English-language film shot largely in Libya" and which "plays like something of a prophecy – six years before the epochal on-location imagery and direct exploration of British colonialism we're all familiar with in David Lean's Lawrence of Arabia (1962), here are vast desert-dune landscapes punctuated by Englishmen and testy Bedouin on camels, with all of the culture-collision freight that implies."
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