Ein Haufen toller Hunde

Oh, Sie verrückter Trottel. Sie würden auch einen Toten aufrichten und untersuchen, wenn man es Ihnen befehlen würde. Ein Haufen toller Hunde ist ein absolut außergewöhnlicher Film, den ich (nicht nur wegen des Finales) lange nicht vergessen werde. Sidney Lumet hat Rigbys Vorlage exzellent umgesetzt. Der Film ist noch fesselnder als der beunruhigende kritische Roman, den ich in einem Atemzug gelesen habe. Das hat er natürlich auch den Schauspielern zu verdanken. Sean Connery sieht man hier in einer der besten Rollen – wenn nicht sogar in der besten Rolle – seiner Karriere. Harry Andrews als psychopathischer Sergeant-Major Wilson ist auch perfekt. Seine Schauspielleistung ist bewundernswert. Gott sei Dank ist aus seiner Figur keine billige Karikatur geworden. Staff Sergeant Burton! – Hier! – Stevens ist auferstanden, es ist das größte Wunder des Jahrhunderts. Bringen Sie ihn zurück ins Leichenhaus! – Ins Leichenhaus? – Ja, aber über den Hügel. Er soll sich noch ein bisschen anstrengen, bevor wir ihn begraben! (03.02.2012)

Ray Rigby’s “The Hill" isn’t anti-war agitation. And nor is the film adaptation by Sidney Lumet. Thank god. It is “just" probably the best indictment of how antiquated the British Army was/is. The adaptation was outstandingly successful. Apart perhaps from Jacko King’s madness which is presented somehow weirdly hurriedly. Lumet’s directing excels even in the limited room of one sandy parade ground and one cell. The excellent experience is enhanced by the acting performances. The atmosphere of the heat, the hopeless situation and the humidity is so perfectly portrayed that not just the characters but the viewer finds himself sweating too. The Hill is simply unforgettable. I’m still amazed that they didn’t film the direct sequel, Hill of Sand, where the stories of the separate characters were wrapped up. On the other hand, this way the ending in the movie is somehow more disturbing. (07.01.2008)

The worldwide success of the film was not caused as much by Sidney Lumet's direction and the screenplay as by the cult literary source written by Ray Rigby, which sparked great discussions in Britain and became a bestseller. It is exceptional dramatic material that is not inherently anti-war, although there are many attacks on the military system and the film's protagonist ends up in cell number 8 ultimately because he refuses to carry out a senseless order to attack, which would mean the massacre of his unit. Rather, it is a film about the nature and abuse of any power that is not corrected by public control, and the film is thus more similar to the better classic prison dramas. The film is excellently cast and decently directed. It was a great acting opportunity for Sean Connery to break free from the Bond box. The psychological profile of each character and the resulting conflicts are interesting. Overall impression: 90%. (07.01.2008)

A gem polished by time and the furnace of hell. Sidney Lumet is good at this type of movie and this exhaustive and exhausting depiction of a military prison somewhere in the Libyan desert is one of his best. I’ve seen lots of prison movies, but this one goes one step further than the others. The Hill doesn’t show a prison, but a nightmare. If prisons today were like this, the homeless would think twice about stealing rolls from the supermarket and would choose to eat rats instead. Sean Connery excels, but so do all of the actors. No shortage of dry, British one-liners. A really powerful ending that stays with you even after the end. ...but the army is good for nothing if you don’t follow orders! (08.01.2013)

A really powerful experience, enhanced mainly by the gloomy minimalist design and the popular environment of a prison, where roles automatically change and the prisoners become great heroes. And even though I was convinced that this equation had already been worked out in every possible way and could therefore surprise me with nothing, Lumet created a film so appealing and distinctive that I couldn't stop watching. A depressing and thought-provoking narrative, which, given its age, does not allow itself to go as far as it might have needed to, but still manages to immerse the viewer in its unflinching depiction of human cruelty even today. If Lumet had opted for colour and shortened the runtime by 15 minutes or so, it would have been a clear five-star affair. (23.07.2013)