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Breaker Morant (1979)

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clip 'The gentleman's war is over' education content clip 2, 3

This clip chosen to be PG

Clip description

In a lonely, windswept hill camp, far out in the veldt, Captain Hunt (Terence Donovan) instructs Captain Taylor (John Waters) to execute Boer prisoners brought in by Morant (Edward Woodward). When Morant queries the order to shoot prisoners, Hunt tells Morant that these are Lord Kitchener’s new orders, confirmed to him personally by Colonel Hamilton. Morant looks uneasy at the fate of his prisoners.

Curator’s notes

by Paul Byrnes

A very atmospheric and harsh introduction to the real politik of war. Morant is jubilant when he arrives back from a night’s raid, having lost only one of his own, and killed 13 of theirs, but his sense of fair play is offended by the new orders to shoot prisoners. Beresford is careful to maintain a sense of discipline about this scene, because that underlines what the movie is about – following orders. John Waters gives only the slightest hint of hesitation when told to shoot the prisoners; Morant is careful in the way he questions the order. The scene is meant to establish a precedent for the later killings, to suggest that Morant and his two co-defendants thought they were following orders. The Colonel Hamilton mentioned here is Sir Ian Hamilton, who would later command the allied forces at the start of the Gallipoli campaign – his last command. He was relieved after an Australian journalist, Keith Murdoch, delivered a scathing secret attack to the British cabinet about the Gallipoli campaign.

Teacher’s notes

provided by The Le@rning FederationEducation Services Australia

This clip shows Lieutenant Harry 'Breaker’ Morant (Edward Woodward) returning with prisoners after a successful night raid on a Boer encampment (laager). Morant joins Captain Hunt (Terence Donovan) and intelligence officer Captain Taylor (John Waters). Hunt, on hearing that Morant has captured Boers, instructs Taylor to execute them. When Morant says he thought that only Boers wearing British khaki (army uniforms) could be shot, Hunt tells him that General Kitchener has given new orders to take no prisoners. The sound of gunfire is heard off-screen as the clip ends.

Educational value points

  • Breaker Morant is a filmmaker’s interpretation of events leading up to the court martial and execution of Harry 'Breaker’ Morant during the Boer War. British-born Morant (c1864–1902) came to Australia in 1883 and gained notoriety as a stockman and poet. He served two terms in the Boer War, enlisting with the 2nd Contingent, South Australian Mounted Rifles in 1899 and in 1901 was commissioned as a lieutenant into the Bushveldt Carbineers, a British-led unit consisting largely of Australians. Morant and two Australians, Peter Handcock and George Witton, were court-martialled by the British Army for the murder of Boer prisoners. Morant and Handcock were executed, while Witton received a life sentence.
  • The Boer War (1899–1902) was fought between Britain and Dutch–Afrikaner settlers, known as Boers, over the control of resources in southern Africa, which was divided into British colonies and independent Boer republics. The discovery of diamond and gold deposits in the Boer-held Transvaal and Orange Free State in the 1880s fuelled British imperial ambition, but the Boers wanted to keep their independence and control of the new-found riches. Britain’s role in the Boer War was widely condemned around the world.
  • In Australia opinion was divided, with many intellectuals, nonconformist liberals and the Australian labour movement opposing the War. Nonetheless, Australia sent about 16,000 troops. The initial Australian contingent comprised volunteers from the six colonies. After Federation in 1901, those fighting in southern Africa became known as the Australian Commonwealth Horse. At least 600 Australians died in the War, either in action or from dysentery or fever.
  • Australians were concentrated in the mounted units, which were active in the final drawn-out phase of the conflict, when guerrilla fighting replaced conventional warfare. The clip depicts one such group, the Bushveldt Carbineers, a British-led mounted regiment of irregular soldiers formed early in 1901 to round up small bands of armed Boers and bring in Boer families willing to sign an oath of allegiance to the British Empire. The regiment, which consisted largely of colonial volunteers, adopted the guerrilla tactics of the Boers, including fighting in enemy-held territory, surprise attacks and ambushes.
  • The clip presents as fact the claim that Captain Hunt gave the order for captured Boer commandos to be shot. There is no evidence that this incident, as depicted in the film, took place. However, during the 1902 court martial, Morant testified that Hunt had informed him of new orders from General Lord Kitchener, commander-in-chief of British and colonial forces, to take no prisoners. The defence argued that Morant, Handcock and Witton carried out the execution of prisoners after this advice, which led them to believe they were acting on orders.
  • The film supports the claim that the British Army not only sanctioned the killing of Boer prisoners, but was aware that the Bushveldt Carbineers were carrying out executions. The film argues that the British Army then used Morant, Handcock and Witton as scapegoats in the closing stages of the War.
  • Director Bruce Beresford’s film technique is clearly exemplified in the clip. The soldiers’ isolation is conveyed by placing them within a landscape that is desolate and windswept and that is remote from any populated settlements and the scrutiny of senior military command (the film was shot in parts of South Australia that resembled the Transvaal). This clip is notable for the way in which it suggests the tension between Morant, Hunt and Taylor and registers their unspoken responses by cutting between close-ups of the three men, often focusing on one man’s face while another is speaking.
  • Beresford was at the forefront of the 'new wave’ of Australian cinema in the 1970s. Breaker Morant, which some regard as Beresford’s finest work, was well received when it was shown at Cannes Film Festival in 1980 and established his international reputation. The film won many awards at the 1980 AFI (Australian Film Institute) Awards, including Best Film and Best Director. Beresford’s films tend to explore issues of self, national identity and the clash between cultures or races. Since 1980 he has worked in both Australia and the USA.

Peter is walking towards Harry, who is dismounting his horse.
Peter G’day. How did you do? Pretty good, by the look of it.
Harry No stopping me now, Peter.

Harry strides past Peter, who is left holding his cup watching Harry walk over to the officers. When he arrives, Captain Hunt hands Harry a flask.
Captain Hunt Go well, Harry?
Harry Ah, not bad. One dead, one wounded. Mind you, we got 30 of them. Crept up on them, while they were asleep. This lot surrendered.
He gestures to a group of six prisoners, under guard near a tree. Captain Hunt stands to look.
Captain Hunt God, Harry. We’ve got no facilities for prisoners. We can’t even feed them.
He nods at Captain Taylor, who is sitting on a rock following their conversation.
Captain Hunt Taylor, execute those men.

Captain Taylor nods to confirm the order and, with Harry watching, walks towards the prisoners.
Captain Taylor Neasmith, Dengate, Seery, you too Gray. McDonald, Pickes, form a squad.
The soldiers grab their rifles and follow Captain Taylor.

Harry stands watching as Captain Hunt sits back down near the tree. Captain Hunt drinks from his cup looking up at Harry.
Harry Simon, I thought the proclamation only applied to Boers caught wearing British khaki.
Captain Hunt New orders, from Kitchener. Colonel Hamilton’s confirmed it to me himself. No prisoners. The gentleman’s war is over. Here, break your teeth on this.
We see Harry shaking his head, not wanting what Captain Hunt just offered him. Harry drinks from his cup and looks over in the direction of the prisoners as shots are fired.