In most respects a conventional ‘war combat’ film featuring a unit attempting to fend off overwhelming enemy forces, A Hill in Korea does have some interesting features. It’s a Wessex Films production and as in the much earlier Once a Jolly Swagman, Ian Dalrymple’s production carries a couple of reminders of his documentary roots. The film begins and ends with a ‘voice of authority’ voiceover explaining that this unit went out on patrol at a certain time and that there were ‘ten national servicemen’ among the 16 men in the unit. The story is set during the retreat of UN forces during the Korean War in late 1950 as the Chinese advance.
British films about the war in Korea are hard to find and the action is largely represented on screen by Hollywood. The British contribution to the UN Command forces was part of a ‘Commonwealth Division’ with Canadian, Australian, New Zealand and Indian personnel. In numerical terms, the Commonwealth forces comprised only a fraction of the total UN forces compared to the dominant American contribution. ‘National Service’ was began in the UK in 1949 and lasted until 1963 with young men required to serve for two years by the time of Korea. Later British films featured the independence struggles in the British colonies of Malaya, Kenya and Cyprus as well as the débacle of Suez, in each of which national servicemen saw action. In A Hill in Korea, there are various taunts and squabbles between the national servicemen and the ‘regulars’ – the regular soldiers who had voluntarily signed on for three years or more.
Although there are two prolonged action sequences, two hills to be defended in fact, much of the interest in this relatively short film is now in the casting, which serves as a commentary on how the British film industry was developing. The biggest contemporary name has the smallest part with Michael Caine seemingly having one line in one of his earliest credited appearances. The unit is commanded by George Baker as a young Lieutenant who may actually be a national serviceman – it was possible to be commissioned on entry. Certainly he has never seen combat before, unlike the ‘regulars’ Harry Andrews as the Sergeant and Stanley Baker as the hard-bitten corporal. The rest of the cast are also mainly familiar names, known through theatre and TV as well as film in the 1950s. Victor Maddern and Percy Herbert would become well-known character actors while future Hollywood stars Robert Shaw and Stephen Boyd have a few lines each. Ronald Lewis, an actor who is not well-known now, has a fairly prominent role as a more middle-class serviceman who plays the one member of the unit who breaks down psychologically – and is not supported by his fellow squaddies.
One aspect of the film that grated with me was the use of the term ‘Chinks’ to refer to the Chinese troops. Every character uses this term and the most loquacious refers to ‘yellow men’. The enemy troops are never seen in close-up but only as tiny figures running towards the British positions. I’m assuming this racist terminology was meant to be ‘realistic’ in terms of how soldiers referred to the enemy in 1950 when the film was set. There is a South Korean soldier attached to the unit and he is played by an English actor, Charles Laurence with heavy make-up. I think it must have been a budget issue that meant that this film didn’t attempt to represent Chinese and Korean culture in any ‘authentic’ way. Hollywood, with bigger budgets and more access to Korean actors and extras does at least give a veneer of authenticity, even if the locations used are in California. According to one review I read, this British film was shot in Portugal with American jet fighters purchased for the Portuguese Air Force. These were possibly Lockheed T-33 training aircraft, a variant of the Shooting Star fighter-bombers used by the Americans in Korea.
A Hill in Korea was directed by Julian Aymes. He was a TV director who only made two cinema features but worked extensively on ‘TV films’ and series from the early 1950s to the late 1980s. The great director-cinematographer Freddie Francis made his debut as DoP on the film shooting in B&W. IMDb lists the aspect ratio as Academy and certainly that was the ratio used on the print shown on Talking Pictures TV. It’s late to still be using Academy and some of the shots did seem possibly cropped to me. Does anyone have more information? Malcolm Arnold is credited with the music score. The film was released outside the UK (including in the US) as Hell in Korea.
A lot of viewers must come to the film hoping to see the Michael Caine performance, but as I’ve indicated, he has a very small role. Caine himself was one of those national servicemen aged 19 sent out to Korea and it’s worth listening to an extract from his recent radio broadcast of his autobiography about his time as a soldier in Korea. It’s on YouTube as ‘The Korean War and Michael Caine’. It sounds like the real experience wasn’t too different from the film. Searching for images, I discovered that Robert Shaw seems to have been the actor that most attracted the stills photographer on set. A Hill in Korea isn’t an action spectacular but as a gritty drama about a bunch of squaddies fighting against overwhelming odds it’s definitely worth a watch.