Directed by Joseph Losey, "King and Country" (1964) stars Tom Courtenay as Arthur Hamp, a British soldier who deserts his unit during World War 1. Court-martialed for desertion, Arthur is defended by Captain Hargreaves (Dirk Bogarde).Well-meaning but overly melodramatic, Losey's film associates soldiering with muddy trenches, lost-causes and mean commanders. Here the British class-system treats working-class volunteers as cannon fodder, and military leaders are constantly demonstrating their class prejudices. Like the similarly themed "Paths of Glory" and "Breaker Morat", the film ends with an execution, pawns sacrificed so that others may think twice before betraying kings. The film was based on a play by John Wilson, who, as a lawyer, defended a similar client condemned to death.7.5/10 – Overly wordy, but powerful at times. Worth one viewing.

Like the incessant rain King and Country mired in mud and military litigation is a non stop emotionally powerful film of human spirit crushed by mechanized war and the necessity to maintain order. It's a chaotic Paths of Glory closer to the front and just as unjust.After repeated shellings and engagements with the enemy Pvt. Hamp (Tom Courtnay) is arrested trying to walk back to England from the battlefields of Europe. Put on trial for desertion he and his lawyer Captain Hargreaves (Dirk Borgarde) devise a plan to attempt to save him from the firing squad. With shelling in the distance court convenes.A filmed play with much shot in close-up along with a smooth and unobtrusive camera movement within the claustrophobic confines of the trenches ( with some telling stills) King and Country is an unrelenting depiction of absurd sacrifice stopping only for a moment to exterminate one with those around him scheduled for the same per order to immediately move out.Director Losey's anti war tract is one of the most sober and ultimately powerful of an era when anti-war films flourished with wild absurdities from King of Hearts to How I Won the War. His inquisitors drab bureaucrats instead of ogres his stage a rat infested quagmire instead of a chess board floor of a French Château the film resonates with a callous, hopeless and to add insult to injury clumsy rush to justice. Bogarde's Hargreaves is measured and restrained, his pauses and glances masking incertitude brilliantly. Coutrtnay is outstanding as the born to lose Hamp. Both touching and frustrating he states his case with a warped benign logic. Leo Mc Kern's hostile doctor also register's in a gruff way.King and Country may not match the scale of All Quiet on the Western Front or Paths of Glory but Losey's deft and tight handling within it's limited confine packs every bit as an emotional punch.

"King & Country" is a film about a man who deserted from his unit during WWI. After over three years of fighting, the naive young man had frankly had enough and began walking home from France. Considering he grew up in Britain, he seemed either a bit dumb or just so psychologically damaged that the impossibility of his task eluded him. In many ways, this film is reminiscent of the exceptional Stanley Kubrick film "Paths of Glory"--about an entire unit of French soldiers who simply refused to fight due to the utter stupidity and waste of life of this so-called 'Great War'. In fact, both would make an excellent double-feature.The film begins with an officer (Dirk Bogarde) being asked to defend a deserter. It's obvious that he assumes the man is guilty and deserves to be executed and is doing this only out of obligation. As for the deserter (Tom Courtenay), he is an odd fellow. While he obviously was brave for volunteering and fighting in so many god-awful battles, his reaction to all this is a bit odd--like he doesn't fully appreciate the horrible predicament he's in at this time. He seems guileless and naive.As far as the trial goes, you know that the court must find him guilty and execute him, lest they admit that the war was a horrible mistake--futile and an atrocity upon the people....and they certainly were not about to admit that. It is simply preordained and Bogarde seems to have little care about the doomed man--he is only doing it out of obligation--even after he gets to know the man and pleads his case. Only towards the very end of the story do we see Bogarde regard the man as anything other than a coward--and then the accumulated horror of the war and its stupidity is revealed. However, at the same time, the momentum of the film slows down to a crawl--and the film unfortunately ends with a bit of a fizzle. Overall, it's quite good in some ways but just barely misses the mark.

In the early 1960s the world of international cinema was in a state of revolution, what with the French nouvelle vague and the emergence of an alternative culture in Carnaby Street. In its historical context, this film, directed by Joseph Losey and starring Tom Courtenay as the skinny deserter and the aristocratic Dirk Bogarde as his defending officer, is a bit retrograde.True, no movie about the First World War has ever seemed quite so thoroughly drowned in mud -- the rain is constant, the bunker walls run with water like cataracts, every surface drips -- and there are multiple shots of dead bodies, including a scene involving a horse carcass filled with joyous rats.But otherwise the story is both dismal and predictable. NONE of these guys on trial for their lives over a stupid and impulsive act ever gets off -- not Private Slovik, not the four French grunts in Kubrick's "Paths of Glory," not even Herman Melville's "Billy Budd." How can you expose the futility of war without someone's dying a pointless death at the hands of a feckless justice system? Not that Hodson and Jones, the writers, have caved. The officers of the court are reasonable and just or, at worst, no more stupid than the men they govern. They're just following the rules. It's the law that's really on trial.The action is all studio-bound -- the mud puddles, garbage dumps, trenches, jails, and bunkers. There are occasional inserts of still photos to give us some idea of the larger context.The performances certainly can't be faulted. Courtenay and Bogarde are both outstanding, and the supporting parts by actors like Barry Foster (who went on to become the "sex murderer" in Hitchcock's "Frenzy") are all up to par.Losey's direction is also hard to fault. The guy has a painter's eye for composition, and there is a scene in which Bogarde stumbles into his CO's underground office and the two converse about the trial and the death verdict. The CO is in the brightly lighted foreground. Bogarde sits in relative darkness beside him, farther from the camera. And nobody looks at anyone else. When Bogarde makes an outrageous remark, the CO barely turns his head before responding with something like, "A bit short on ceremony, aren't we?" There's a good deal of easy symbolism too. The other prisoners in the jail manage to catch some of the many rats feeding off corpses. They capture and torment them. And Bogarde, on his way to have it out with the CO, the death sentence in hand, slips to his hands and knees, and for the rest of the scene the piece of paper is dripping with mud and Bogarde's hands are covered with filth.The point of it all is, I suppose, that if a man spends years doing whatever he is told on the front line, sees all the other members of his platoon blown to bits, receives a letter informing him that his wife is betraying him, and walks dizzily away towards home -- we shouldn't kill him for it.World War I was one of the world's more mismanaged wars. There was an impassable line drawn between the ordinary soldier and the officer class, on both sides. If you lost ten men and the enemy lost eleven, the victory was yours. Americans seem to have a more difficult time grasping the significance of World War I, and it's understandable. The Allies fought the bloodiest battles during the first three years while American industry profited by selling goods to both sides. Unlike all the countries of Europe, our was never bombed or shelled. Worse was to come in another twenty years, of course, but thank God our understanding of stress responses had become more sophisticated.