Khartoum (1966)

An Epic of Empire, Martyrdom, and Moral Dilemma

In the waning years of British imperial confidence, the film Khartoum (1966) offered a grand, thoughtful, and often sombre meditation on the costs of empire and the heroic—and sometimes quixotic—figures who defined it. Directed by Basil Dearden, with a screenplay by Robert Ardrey, the film recounts the final days of General Charles “Chinese” Gordon, played by Charlton Heston, as he defends the Sudanese city of Khartoum against the forces of Muhammad Ahmed, known as the Mahdi, portrayed by Laurence Olivier.

With sweeping desert landscapes, powerful performances, and an undercurrent of tragic inevitability, Khartoum stands as both a traditional epic and a more nuanced political drama. It’s a film that asks hard questions about duty, imperialism, and faith—while never losing sight of its central human drama.

Plot Overview

Set in the early 1880s, Khartoum dramatizes the events of the Mahdist War, when Sudanese Islamic forces under Muhammad Ahmed rose in rebellion against Egyptian and British rule.

After the Mahdi’s army destroys an Anglo-Egyptian force at El Obeid, the British government, led by Prime Minister William Gladstone (Ralph Richardson), reluctantly sends General Charles Gordon to Sudan—not to fight, but to supervise the evacuation of British and Egyptian citizens from Khartoum.

However, Gordon, a devout Christian, charismatic leader, and highly individualistic figure, defies his orders. Believing it his divine duty to save the city and resist the Mahdi, he digs in for a siege, leading to a prolonged standoff. His refusal to abandon the city—and the government's reluctance to send reinforcements—sets up the film’s central moral and political conflict.

The film builds steadily toward the tragic fall of Khartoum in 1885, portraying Gordon’s death not only as the end of a campaign, but as the symbolic failure of a man caught between conscience and duty, empire and faith.

Performances

Charlton Heston as General Gordon

Heston, no stranger to epic roles (Ben-Hur, El Cid, The Ten Commandments), brings a restrained intensity and dignity to Gordon. His portrayal is less overtly heroic than many of his other roles. Gordon is shown as brave and deeply principled, but also stubborn, prideful, and driven by an almost messianic self-belief.

Heston reportedly took the role seriously, even growing a beard and studying Gordon’s writings. His performance walks the fine line between conviction and fanaticism, giving Gordon a tragic complexity rarely seen in imperial biopics of the time.

Laurence Olivier as the Mahdi

Olivier’s performance is both mesmerizing and controversial. Physically transformed by dark makeup, robes, and false teeth, Olivier brings eerie charisma and spiritual intensity to the role. His Mahdi is not a cartoon villain but a fierce and deeply religious leader, convinced of his divine mission.

However, by modern standards, Olivier’s portrayal, with its use of brownface and an exaggerated accent, is rightly viewed as problematic. At the time, it was praised for its theatrical power, but it’s now often cited as an example of outdated casting practices.

Ralph Richardson as Gladstone

Richardson brings gravitas and political calculation to Prime Minister Gladstone, representing the film’s detached moral voice. His scenes in London are a sharp contrast to the harsh realities of Sudan, highlighting the disconnect between political decision-makers and those on the ground.

Direction and Cinematography

Basil Dearden, known for his work on socially conscious dramas (Victim, The League of Gentlemen), directs with a measured, classical style. He avoids bombast in favour of clarity and balance. The siege scenes are tense, the desert landscapes are majestic, and the quiet moments—like Gordon walking through the streets of Khartoum or meditating on fate—are given time to breathe.

The film was shot in Ultra Panavision 70, and the widescreen visuals by Edward Scaife are stunning. The Nile, the palaces, the desert—it’s all presented in painterly compositions that underscore the film’s epic scale.

Script and Themes

Written by Robert Ardrey, a playwright and screenwriter with a background in anthropology, the script is rich in dialogue, philosophical debate, and political nuance. The central conflict is not merely military—it’s ideological and spiritual.

Key Themes:

Empire and Conscience: Gordon embodies the contradictions of empire: a man sent to serve the British cause, who ends up opposing his own government’s orders out of personal moral conviction.

Faith and Fanaticism: Both Gordon and the Mahdi are religious zealots in their own way. The film draws parallels between them—not to equate their causes, but to explore how faith can both inspire and isolate.

Martyrdom and Politics: Gordon’s final stand is framed as both a moral victory and a political failure. His death is unnecessary in practical terms, but becomes symbolically powerful—a martyrdom that shames the government and stirs public outrage.

Historical Accuracy

Khartoum takes some liberties with history, but it remains surprisingly respectful of the facts and context:

The siege of Khartoum lasted nearly a year, as portrayed.

Gordon’s defiance of orders and refusal to evacuate is historically accurate.

The Mahdi’s charisma and appeal to Sudanese nationalism and Islamic unity are fairly represented.

However, the film simplifies some political dynamics and omits key perspectives, especially those of Sudanese civilians and local resistance leaders beyond the Mahdi. The narrative, while critical of British inaction, still frames events largely through the lens of European figures.

Reception and Legacy

Upon its release, Khartoum received generally positive reviews, with particular praise for its performances, script, and cinematography. It was nominated for an Academy Award for Best Screenplay and earned a BAFTA nomination for Best British Actor (Ralph Richardson).

However, it wasn’t a massive box office hit, likely due to its cerebral tone, political complexity, and competition from more action-driven epics. Over time, though, it has gained recognition for its mature treatment of imperial history and its thoughtful character study.

Today, Khartoum is appreciated as a thought-provoking historical drama, though marred by the dated casting of Olivier in brownface. It remains a valuable document of mid-20th-century epic filmmaking, one that dares to question the very ideologies it dramatizes.

Final Verdict

Khartoum is a visually grand and intellectually rich historical epic, anchored by a stirring central performance from Charlton Heston. Though flawed by dated casting choices and a Eurocentric viewpoint, it remains an absorbing study of moral courage, imperial conflict, and the tragedy of idealism. For those interested in films that explore the ethical dilemmas of leadership in complex geopolitical times, Khartoum offers both spectacle and substance.