The Man Who Would Be King (1975)

Introduction

The Man Who Would Be King stands tall among the great adventure films of cinema history. Directed by the legendary John Huston and based on a novel by Rudyard Kipling, this 1975 epic captures the spirit of high adventure while probing deeply into themes of ambition, imperialism, brotherhood, and human frailty.

Starring Sean Connery and Michael Caine at the height of their powers, and featuring a memorable supporting role by Christopher Plummer, The Man Who Would Be King is both a rousing swashbuckler and a tragic parable. It combines the rugged grandeur of classic adventure films with a knowing, sometimes bitter commentary on the myths of empire and heroism.

It’s a film about two scoundrels chasing glory — and about how glory, once seized, devours them.

Plot Overview

Set in the 19th-century British Raj, the story follows two former British soldiers — Daniel Dravot (Sean Connery) and Peachy Carnehan (Michael Caine) — who have turned to petty crime in colonial India. Realizing they will never achieve riches in British-controlled territories, they hatch a bold plan: to journey into the remote region of Kafiristan, beyond the known map, and set themselves up as kings.

Their plan is simple: introduce modern military tactics, win over local tribes by force and diplomacy, and crown themselves as rulers. At first, the plan succeeds beyond their wildest dreams. Dravot is even mistaken for a god — the son of Alexander the Great — after a fluke incident convinces the locals of his divine status.

But as Dravot becomes intoxicated by his own power and begins to see himself as a true king — perhaps even a true god — the line between ambition and hubris blurs dangerously. Peachy, more practical and cautious, tries to warn his friend, but it is too late.

When Dravot breaks the sacred taboo by taking a wife, the illusion collapses. Betrayed and surrounded, the two friends must face the consequences of their impossible dream.

The story is framed by Peachy, now a broken, half-mad beggar, recounting their tale to a fictionalized version of Rudyard Kipling (Christopher Plummer), adding a layer of melancholy and foreboding from the start.

Direction and Cinematic Style

John Huston, who had dreamed of making this film for decades, directs with authority, patience, and grandeur. This is classic storytelling: unhurried but absorbing, filled with rich character moments, sweeping vistas, and a sharp eye for human folly.

The visuals, shot by cinematographer Oswald Morris, are stunning. Filmed largely in Morocco (standing in for Afghanistan), the film captures the rugged, arid majesty of the mountains and deserts, giving the story an epic sense of place. The production design, costumes, and set pieces — from dusty villages to ornate palaces — are impeccably authentic without feeling romanticized.

Huston’s storytelling style is classical — no flashy editing or gimmicks. Instead, he trusts in the strength of the story, the depth of the performances, and the moral weight of the themes. There’s an almost mythic grandeur to the film, reminiscent of the ancient legends Dravot and Carnehan hope to emulate — yet Huston also undercuts this with sharp, sometimes brutal realism.

Performances

The heart of The Man Who Would Be King is the chemistry between Sean Connery and Michael Caine, and they are both superb.

Sean Connery gives one of his finest performances as Daniel Dravot. Initially roguish and affable, Dravot gradually transforms into a tragic figure consumed by his own hubris. Connery plays this descent with real pathos — he is both absurd and deeply sympathetic, a man destroyed by his own dreams of greatness.

Michael Caine brings earthy wit and humanity to Peachy Carnehan, the more cautious and self-aware of the duo. Caine’s performance grounds the film, providing a foil to Connery’s increasingly grandiose Dravot. His final scenes — broken, despairing, yet still clinging to loyalty and memory — are heart-wrenching.

Christopher Plummer is excellent in a smaller but crucial role as Kipling. He plays the author not just as a curious chronicler but as a symbol of the empire’s uneasy conscience — a man both fascinated and horrified by the ambition and tragedy of Dravot and Carnehan.

Shakira Caine (Michael Caine's real-life wife) plays Roxanne, the woman who unintentionally sparks the downfall of the kings. Though her role is largely symbolic, she delivers a powerful presence in her few scenes.

Themes and Interpretation

The Man Who Would Be King is rich with thematic depth:

Imperialism and Hubris: On the surface, Dravot and Carnehan are minor adventurers, but their story mirrors the larger folly of imperialism. Their attempt to "civilize" Kafiristan through force and deception echoes the real-world arrogance of colonial powers — and its inevitable consequences.

Friendship and Betrayal: The bond between Dravot and Carnehan is the emotional core of the film. It’s touching and believable — two rough men who find loyalty in a treacherous world. Yet their friendship is strained by ambition and differing visions of power.

Dreams vs. Reality: The film explores the seductive pull of dreams — of glory, wealth, immortality — and the brutal realities that shatter them. In their quest to become kings, Dravot and Carnehan ultimately lose everything, including themselves.

Myth-Making and Storytelling: Huston frames the story as a tale told to Kipling, emphasizing how legends are built from half-truths, bravado, and tragedy. By the end, we understand that all empires and great deeds are ultimately just stories — sometimes glorious, often heart breaking.

Tone and Pacing

The tone of The Man Who Would Be King is a masterful blend of adventure, humour, and tragic grandeur. The first half of the film is almost exuberant — a rollicking journey into the unknown. The second half grows increasingly dark, culminating in a devastating final act.

The pacing is deliberate but never sluggish. Huston takes his time setting up the characters and their world, allowing the slow build of tension and inevitability to hit with full force in the final scenes.

The final moments — with Peachy presenting the worn, golden crown to Kipling — are among the most haunting and memorable in cinema history.

Music

The musical score by Maurice Jarre is grand and sweeping, but used sparingly. It enhances the mythic quality of the film without overwhelming it. The repeated use of "The Son of God Goes Forth to War," a hymn sung by Dravot and Carnehan, is especially poignant, underlining the tragic irony of their "mission."

Legacy

While The Man Who Would Be King was not a massive box office success on its release, it has since been recognized as a classic of the adventure genre — and one of John Huston's greatest films.

It stands alongside other great films of empire and adventure, such as Lawrence of Arabia and The Bridge on the River Kwai, but has a unique flavour: less romantic, more wry and tragic.

It also features some of the best work from Sean Connery and Michael Caine, both of whom have cited it as one of their favourite films of their careers.

Today, it is widely studied and praised for its rich themes, superb performances, and timeless storytelling.

Conclusion

The Man Who Would Be King is a magnificent achievement — a film that manages to be thrilling, funny, moving, and profoundly sad, often all at once. It’s a timeless parable about human ambition, friendship, and the perilous allure of power.

With brilliant performances by Sean Connery and Michael Caine, masterful direction by John Huston, and unforgettable visuals, it is a film that lingers in the mind long after the credits roll.

An epic adventure — and a timeless tragedy.