The Last Valley

I don't know whether to be more shocked that James Clavell also directed or that he was as good at directing as he was at writing. (2011-01-21)

If a film that's over fifty years old can still captivate me with its message today, you know the creators did something right. The main takeaway from the film was loud and clear: war is absolute filth. And I couldn't agree more. But what struck me even more was the secondary message that emerged from the religious discussions. When I say I agree with it wholeheartedly, it barely scratches the surface of my feelings. Let me be blunt — I've always viewed religion as the epitome of filth, and the Thirty Years' War perfectly illustrates why. Imagine this: two opposing sides, supposedly both believing in the same god, plunging Europe into three decades of chaos — killing, raping, looting, and destroying. If this was all happening in the name of a god, well, that god would have to be a real jerk. And let's not forget about the devil. I have no doubts about his existence; we all carry our own devils within us, ready to wreak havoc or at least make life miserable for others when the opportunity arises. The scary part? It's not some supernatural being — it's us. No excuses, except for the religious ones. Then you blame it all on Satan's impure deeds, burn your neighbor for having a wart on her nose and a black cat on her couch, and suddenly, the colors of your world are clear and radiant again. That's the essence of this film, or at least how I interpret it. And what's unnerving is that despite its age, the film still feels uncomfortably relevant today. / Lesson learned: If you see a priest, toss a stone before you find yourself burning at the stake. 4*+ (2022-03-22)

The war, which in the film seduces both the idealist and the pragmatist, lasted thirty years. The war that men wage with each other, the war of ideology, lasts eternally. The dramatic tension of The Last Valley, set in a tough time when threats of castration were still meant seriously, arises from the clash of ideas, as well as from the simple desire to hold onto power and survive. The chaotic period of the Thirty Years’ War made it possible for Clavell to pit against each other men adhering to incompatible worldviews and defending those views with their lives (only at the end of his life does one of those men come to believe what he had previously refused to believe). Due to the indomitable faith of its characters, the story would not be believable if it were set in the present, about which it definitely has something to say (and not only through the words of Vogel, the modern-thinking man who guides us through the plot). The word does not win out over the image as one would expect from the director/screenwriter, but The Last Valley makes an extraordinary impression thanks to its intellectual complexity, not the 1920s cruelty of its violence. 80% (2011-06-22)

There are few historical films that you watch and think, "Yeah, it must have really been like that back then." The Last Valley is one of them. It depicts the Thirty Years' War as a conflict that managed to divide the continent into two camps plus several smaller ones, pitting against each other people who until then had cared for nothing but their own houses and fields. Anyone could have doubted the meaning of it all. At the same time, he had to be prepared for the simple fact that if someone wanted to slit his throat, nothing would stop him. This is probably the mindset of Michael Caine, who may seem an odd choice for the role of the Captain, but his first scene banishes all fears (not to mention the last scene). But in addition to Cain, Last Valley has a big advantage in his opposite/teammate Omar Sharif and the accurate Nigel Davenport aka Gruber. I was definitely surprised by Clavell's direction - the battles are uncompromisingly rough and dirty, and scenes like the plague pit or the burning of the witch (the best scene of this kind I've seen since Witchhammer) are unforgettable. And then, of course, there's John Barry. Without his top-notch music, the film would have missed out on much of its amazing atmosphere. So, if you like Barry's Lion In The Winter or Mary, Queen Of The Scots, definitely pick up this soundtrack. In its genre, it is unquestionable perfection. Last Valley deserves full marks. (2011-03-14)

Large studios have never been characterized by meticulousness when it comes to historical realities, and this can also be applied to The Last Valley. Many details, but also more fundamental aspects of the thinking and actions of the characters suffer from a lack of historical accuracy, and it is simply the screenwriter's construct in the style of "these things will sell well in the second half of the 20th century and evoke the appropriate emotions, so we'll put them in there." Just to give an example, an officer would not publicly admit to his factual position as an atheist during a time of religious wars and boundaries with heretics - if only because he would lose the respect of his subordinates and give his opponents a powerful weapon to gain control over the village. Nevertheless, this is one of the significantly better films that were created at that time on a historical theme. The anti-war ethos is evident, there are interesting characters in the film, and the dramatic conflict functions. The clash between faith and political power on one hand, as well as the conflict between idealism and cynical pragmatism, provide film fans with many interesting scenes and catharsis. Moreover, the film has a star-studded cast in the form of Michael Caine and Omar Sharif. However, I cannot shake the impression that Czech director Karel Zeman managed to depict the chaos of war in his The Jester's Tale more creatively, with a sense of humor and irony, all at a fraction of the cost. On the other hand, James Clavell catered to fans of adventure spectacles and incorporated not only many mercenary skirmishes in his film but also a bloody battle for a large city. Overall impression: 75%. (2011-06-24)