55 Days at Peking (1963)

Introduction

55 Days at Peking is a grandiose historical epic, set during the Boxer Rebellion in China in 1900. Directed primarily by Nicholas Ray and produced by the legendary epic-scale filmmaker Samuel Bronston (El Cid, The Fall of the Roman Empire), the film attempts to recreate one of the most dramatic confrontations between the Western imperial powers and China. With sweeping sets, star-studded performances, and a sweeping orchestral score, the film blends war drama, romance, and political intrigue.

Despite its lavish production, the film is a curious mix of historical dramatization and Hollywood spectacle, often reflecting more about 1960s Western sensibilities than the actual nuances of Qing-era China. Nevertheless, 55 Days at Peking is a notable entry in the canon of Cold War-era Hollywood epics, and a fascinating cultural artifact.

Historical Background

The Boxer Rebellion (1899–1901) was a violent anti-foreign, anti-colonial uprising led by the "Righteous and Harmonious Fists" (known in the West as "Boxers"). With the tacit support of Empress Dowager Cixi, the Boxers targeted foreign legations and Chinese Christians in Beijing. In response, an alliance of eight nations—including Britain, the United States, Germany, France, Russia, Japan, Austria-Hungary, and Italy—formed a military coalition to protect their citizens and suppress the uprising.

The film dramatizes the 55-day siege of the foreign legation quarter in Beijing, portraying Western diplomats, soldiers, and civilians resisting Boxer attacks until relief arrives.

Plot Summary

The story opens with rising tensions in Peking as anti-foreigner sentiment swells. The Chinese imperial court is divided between those who want to expel foreigners (with Empress Dowager Cixi's tacit approval) and those advocating diplomacy. As the Boxers begin their violent campaign, foreign legations unite to defend themselves.

Major Matt Lewis (Charlton Heston), a tough U.S. Marine, is sent to protect the American legation.

Sir Arthur Robertson (David Niven) is the calm, dignified British ambassador leading the diplomatic effort.

Baroness Natalie Ivanoff (Ava Gardner), a Russian aristocrat estranged from her homeland, becomes romantically involved with Major Lewis.

As the siege intensifies, food and ammunition dwindle, and internal divisions surface among the defenders. Meanwhile, the Chinese court debates its allegiance, leading to the decision to support the Boxers against the foreign legations. After 55 days of brutal standoff, the allied relief force arrives, ending the siege.

Performances

Charlton Heston plays the archetypal stoic hero with gruff masculinity and noble resolve. His presence is commanding, though his performance lacks nuance.

David Niven brings wit, composure, and subtle gravitas as Sir Arthur Robertson. Niven’s portrayal is among the film’s highlights, offering a measured counterbalance to Heston’s intensity.

Ava Gardner, though magnetic in presence, is saddled with a role that feels underwritten. The Baroness’s romantic subplot is more decorative than integral, and Gardner’s talents are underused.

Flora Robson as Empress Dowager Cixi adds a touch of theatrical intrigue, though the character is portrayed with Orientalist tropes rather than complexity. Her stylized performance walks a fine line between exotic allure and caricature.

Supporting actors such as John Ireland, Leo Genn, and Paul Lukas fill their roles effectively, but few characters beyond the main trio are deeply developed.

Direction and Production

While Nicholas Ray directed the majority of the film, health issues and production tensions led to others stepping in to complete it. The result is a film that feels visually consistent but narratively disjointed at times.

Visually, the film is a triumph of set design and scale. The city of Peking was recreated in Madrid at Bronston’s vast studio complex, complete with massive walls, temples, and palaces. The opulent production value—costumes, architecture, and military pageantry—evokes the grandeur of early 20th-century China, albeit filtered through a Eurocentric lens.

However, the direction occasionally struggles to balance spectacle with storytelling. There are tonal inconsistencies between war, romance, and political drama. The pacing suffers in the second act, with some dramatic tension diluted by melodrama or speechifying.

Cinematography and Score

Jack Hildyard’s cinematography uses widescreen Technicolor to capture the film’s epic scope. Long shots of battle sequences and richly lit interiors give the film a painterly quality.

Dimitri Tiomkin’s rousing musical score is majestic and memorable, especially the theme song “So Little Time,” which became a hit in its own right. Tiomkin’s music adds emotional weight, elevating scenes that otherwise might feel static or overly expository.

Themes and Interpretation

East vs. West:

The film’s portrayal of the clash between Western powers and the Qing dynasty reflects Cold War ideologies. It emphasizes the righteousness of the West, portraying the Chinese as either inscrutable allies or fanatical enemies. While the film attempts to show internal conflict within the Chinese court, it simplifies or misrepresents much of the historical context.

Heroism and Diplomacy:

The film champions resilience, cooperation, and duty under pressure. The legation’s unity is contrasted with the chaos outside the walls, suggesting a moral and cultural superiority of Western governance—a problematic and dated notion.

Romanticism of War:

There is a clear romanticizing of military valour and Western stoicism. However, it also depicts the horror of siege warfare, starvation, and moral ambiguity (especially in Heston’s character).

Historical Accuracy

As with many historical epics of the era, 55 Days at Peking takes significant liberties with the facts:

The character of Major Lewis is fictional.

The film glosses over the exploitative aspects of foreign imperialism in China.

It downplays the brutality and motivations of both the Boxers and the foreign powers.

Chinese characters are often reduced to stereotypes or given limited screen time and voice.

While it attempts to be even-handed by including debates within the Qing court, the perspective is undeniably Western.

Cultural Legacy and Reception

Upon release, the film received mixed reviews. It was praised for its production values, music, and action, but criticized for its sluggish pacing and historical simplification. Over time, it has developed a reputation as a beautifully mounted but politically outdated epic.

Its elaborate production signalled the decline of large-scale historical dramas, as studios increasingly struggled to recoup costs on such sprawling films. 55 Days at Peking was not a box office success, contributing to the financial downfall of Samuel Bronston's production empire.

Yet for fans of the genre, it remains a compelling piece of cinema, offering a blend of spectacle, wartime drama, and mythologized history.

Conclusion

55 Days at Peking is an ambitious and visually impressive historical epic that delivers grand set pieces, solid performances, and an evocative musical score. However, it is also a product of its time—laden with colonial assumptions, cultural stereotypes, and simplified moral binaries. As a spectacle, it impresses; as a historical film, it falters.

Viewed today, it serves both as an entertaining war drama and a cautionary tale about how Hollywood has shaped—and often distorted—world history on screen.

Lavish, dramatic, and flawed—an epic worth watching for its scale and craft, if approached with historical awareness.