After being attacked by armored cars and strafed by airplanes, stranded in the desert, and overcome various tensions within the small group of escapees, there is still considerable life left in this picture at the end as Jack Warden, making his departure, comes up with a classic last line: “We must do this again sometime.”
In truth, the picture has far more going for it than a mere outline would suggest. In rescuing rebel leader Yul Brynner from a lorry bound for jail, the escapees led by Sal Mineo (Exodus, 1960) in a stolen ambulance also scoop up three convicts including American fraudster and loudmouth Jack Warden (That Kind of Woman, 1959) and all-purpose thug Anthony Caruso (a television regular) plus a nurse Madhlyn Rhue (A Majority of One, 1961) as a hostage. Like most desert films, the storyline is on who will survive and how.
Action is one constant. The threat of failure is another. Supplies are rationed and, of course, someone steals more than their fair share. The members regularly switch allegiance. At various points someone is about to give up Yul Brynner. Their gas tank is punctured so, thanks to Warden’s engineering skills, they just make it to a remote pumping station where James Mason pops up in a cameo as a maintenance man. Their numbers diminish and despite his recalcitrance Warden’s engineering skills save them again when they reach an oasis.
What makes the film different is that the characters all change. In a country where “half the wealth is stolen by Europeans and half by corruption,” Brynner is the altruistic leader whose ideals are shattered. Rhue, a Muslim, drinks alcohol and questions the number of deaths necessary for a revolution but declines to leave when the opportunity arises. Mineo who thinks “women should be as free as men” reacts badly when Rhue enjoys such freedom. Warden, who has embezzled $200,000, and has loyalty to no one stands by the shambolic crew.
I had always believed Brynner had enjoyed a rare case of beginner’s luck when he won the Oscar for his debut in The King and I (1956) and that once Hollywood became wise to his acting schtick he would never be nominated again – as proved the case. But after watching Brynner in The Magnificent Seven (1960) and its sequel and Invitation to a Gunfighter (1964) and Flight to Ashiya (1964) I have become convinced he is under-rated as an actor. He acts with his eyes and his delivery is far more varied than I had supposed. Here, clothed in Arab costume, there is no bald pate to distract.
British director Ronald Neame (Tunes of Glory, 1960) holds the enterprise together, keeping to a tidy pace but allowing tension and character to emerge.
Many of the films from the 1960s are to be found free of charge on TCM and Sony Movies and the British Talking Pictures as well as mainstream television channels. Films tend to be licensed to any of the above for a specific period of time so you might find access has disappeared. But if this film is not available through these routes, then here is the link to the DVD and/or streaming service.