Sorry, this movie sucks

Please don't spend money on this.

The film makes a home in your brain and the only cure is to see it again.

Exactly the movie you think it is, but not the movie you want it to be.

As fond as I am of saying "Review the movie on the screen", 55 Days... is very much a movie where I just can't overcome my own prejudices. Specifically, a very negative attitude towards the arrogance of European Imperialism.Don't much care for China's super beehive, patriarchal social system either so combining the two makes, for me, not just an out but banishment from the League.This is why this review is starless. I simply can't rate the movie objectively.That said, 55 Days... is a fine example of its genre: well produced, well acted (good performances by its bevy of stars), great production values, well paced, etc.None of which even begins to override my distaste for its subject matter.But there is one element that does: Heston's demonstration that he can act.During the meaty part of the movie he plays the usual macho (American version) A-type pack leader and selfless hero that was his bread and butter in the 50s and 60s. Then there's a Change.One of his troops had fathered a child with a Chinese working girl who is introduced (the child) early on cheering, with quiet enthusiasm, a company of American soldiers marching into the European compound. Very waif-like, her's is the strongest characterization of the movie.Then her father is killed in a Boxer assault, leaving her orphaned. This is were Heston's proof of acting begins to emerge.At first, like any selfless hero, he commiserates with the girl, inquires about her well-being and prospects, demonstrating his empathy and good character, etc. etc.Then, as the theme progresses, the Change occurs as Heston's character begins to genuinely care, creating a huge problem. What can you do? A bi-racial child who will never fit-in in either culture.What results is an increasing sense of anguish in Heston's character as he tries to come to grips with the insolvable, leading to the only honestly touching scene in the movie as that anguish reaches its climax and Heston makes you believe it. Like shadow and light playing off their surroundings, you can see the conflict at play in Heston's face, hear it in his voice and feel it in his body-language. A once-in-a-career performance.As the two sit, as Heston tries to explain the unexplainable, the waif's all-accepting optimism is the perfect counterpoint to Heston's confused angst.I've witnessed that performance several times over 50 years, drawn to watch the movie solely because of that endearing waif and her story. Each viewing has strengthened the emotional impact of Heston's performance.A huge plus is that the scene ends without resolution - though you know, even if Heston's character doesn't, how it will end.Unfortunately, when that resolution does arrive, Heston's character has returned to his Selfless Hero mode so, when he swings her up onto his saddle, its impact is somewhat muted, like a forced acceptance of fate.Even so, the evolution of the story, and Heston's surprising ability to pull it off, is transcendent.Addendum 11-30-15Had always assumed that all the characters were historical. Turns out Ava Gardner's, Baroness Natalie Ivanoff, wasn't. So she was knocked off simply for dramatic effect. Another reason for me to dislike the movie.

In 1900 Beijing (as Peking), wicked Chinese people are murdering Christians and white people. Many good citizens of the world gather to make the land safe for women, children and kind foreigners. Leading the charge is American epic hero Charlton Heston (as Matt Lewis), who rides in tall on his horse. Romance for Mr. Heston is provided by Russian Baroness Ava Gardner (as Natalie Ivanoff), looking like a movie star returning to the screen in full diva mode. But beautiful young Lynne Sue Moon (as Teresa) gives Heston his best moments. Ambassadors of good will from France, Germany and other concerned countries are also present; dependable David Niven (as Arthur Robinson) represents the British...The strengths in producer Samuel Bronston's "55 Days at Peking" are found in the wide-screen scenes, directed by Nicholas Ray and his replacements; their battle sequences are especially exciting. The story is laughable, though, with the three big stars essaying their typical characterizations. While not exactly Asian (casting no surprise), regal dowager Flora Robson (as Tzu-Hsi) and princely Robert Helpmann (as Tuan) are more impressive. In what looks like thousands and thousands of actors, what stands out the most are Kurt Kasznar's sideburns. If you last for the film's entire running time, you'll hear Andy Williams sing the film's ironic theme song "So Little Time" which peaked at #115 on the Billboard record charts...***** 55 Days at Peking (5/29/63) Nicholas Ray ~ Charlton Heston, Ava Gardner, David Niven, Flora Robson

I just finished watching this for the first time and I just have to comment on it. I've been quite pleased with Samuel Bronston's mega-productions before. "El Cid" was cheesy but wonderful; "King of Kings" was an excellent dramatization of an overdone story. "55 Days at Peking" has so many highlights. Charlton Heston gives the performance of a lifetime-- it's seriously almost as good as his "Ben-Hur" and "Planet of the Apes" work. David Niven is also very good, and Ava Gardner is wonderful simply because she plays a Russian character without choking on a thick Russian accent. Dimitri Tiomkin also does some career-topping composing and conducting here. Bronston, as usual, threw a lot of money into the mix, but you can see every single penny and it pays off tremendously. The explosive battle sequences are much more effective than anything Michael Bay could crank out, and it's always so satisfying to know that every single person in every single frame is a living, breathing human. And actors like Flora Robson and Leo Genn play their Chinese characters with the awkward touch of "The Good Earth," but they do manage to eschew caricature and (mostly) stereotype. Someone ought to release this in America as a valid DVD.

Man, do they blow things up in this movie. If it stands, it gets blown up. Cannon shells tear up the ground and explode in the moat around the enclave of the non-Chinese powers. A ten-story tower with three platforms launches rockets into the compound. A rocket tower goes berserk and starts shooting rockets and shells in all directions. An arsenal erupts into a shattering volcano of fire, sparks, and smoke.A half dozen different countries, along with their military units, are located in the compound near Beijing -- American Marines led by Charlton Heston, a British contingent led by David Niven, and Russians, Italians, French, German, and Japanese soldiers and sailors. Not many all together, perhaps 500, against the might of the savage warriors known as Boxers. The Empress of the Jade Empire alone knows their number.In the opening scene, the half dozen or so different nations are playing their national anthems and running up the flags in the square. Two Chinese guys in rags are trying to protect their ears from the dissonance. What a horrible noise, one remarks, what does it all mean? "It means they want China," replies the other.Well, in brief, the Boxers attack, the occupying powers repel the attacks for fifty-five days, until they are finally spent, out of ammunition, and half dead. Then the cavalry arrives in the form of military contingents from each power. At the end, they are playing their national anthems again and creating a howl of dissonance. "Well," says Heston, "for fifty-five days we managed to play the same tune."The Empress, Flora Robson, ordered them out with a warning near the beginning, yet they chose to stay. But why? Maybe this scene gives us a hint. At a legation ball, a Boxer hands Heston a sword and asks him to try striking an incredibly limber Boxer acrobat. Instead, Heston whirls around and puts the point of the sword against a surprised Boxer assistant. Heston backs him up against a table, then sweeps his feet out from under him and he tumbles to the floor with a crash of plates and crockery. "I think you've made your point, Major," says Niven. Oh, yes? What exactly WAS the point? If that scene doesn't answer the question of why they hung around when they were clearly persona non grata, maybe this exchange does. Heston and Niven are discussing one of the enlisted Marines. Heston: "He's a good man when he knows what he's fighting for." Niven: "Yes. It's different when you're facing a wall or a hill. But how do you explain to a man that he's fighting for a principle?" Okay. They're all fighting for a principle. So what is the principle? It can't be the usual "democracy and freedom" because this is China in 1900, external powers already occupy most of China's provinces, and the only principles anyone is interested in are territory and opium. What else does China have to offer? The entire country lives in grinding poverty and cooks sparse meals on gas stoves that use pig farts for fuel. But the movie doesn't ask why unwanted guests stick around. So it's simply a story of good Europeans against evil Chinese.They must have spent enough money on this production to feed the population of China for ten years. There seem to be thousands of extras running around screaming amid the explosions. Dong Kingman did the paintings behind the credits and he's always just fine, at least for middle-brows like myself. Dmitri Tiompkins' score has its usual flatulent trombones and cow bells. He tries to develop a "Chinese" theme too but it's not nearly as successful as the Attic mood he established in "The Guns of Navarone." At times, it sounds a little Biblical. I half expected Yul Brynner to clap his hands and order, "Bring on the Hebrew dancing girls." The part of the Marine major is well within Charlton Heston's range and he does well with it. He's less impressive when he's strutting around swinging both arms in the same direction and jutting his iron jaw out, than when he's engaged in some thoughtful conversation and is in conflict about something.The rest of the cast hit their marks and say what they have to say, except that Helpmann as Prince Tuan should be sent back to some high school play in Short Hills, New Jersey. He's terrible. Ava Gardner is no longer a spring chicken but still beautiful, without having to wear a mask of Hollywood makeup. Alas, her part sucks. Every movie about people trapped in a limited space and faced with a common goal must have some dilatory moron who skulks and bitches about everything. Here, it's Kurt Kasnar as a Russian Baron. He's always angry. And on top of that he's trying to blackmail Ava Gardner into becoming his mistress. It's 1963 so the Russians could still be underhanded. A bright spot is Lynne Sue Moon as the eleven-year-old orphan of a Marine officer, whom Heston decides to adopt despite his martial distaste for love and affection. The kid has a Brit accent and is beautiful. About the only truly touching moment in the film is when Heston rides back for her, reaches down, says, "Here, take my hand," hoists her up behind his saddle, and rides off with her at the head of the departing detail.The message of the movie, of course, is that we can win if we all pull together towards our superordinate goal. But I'll tell you what I got out of it. We should stay out of China. Not just because of their one billion warriors, but because I wouldn't tangle with Dame Flora Robson. She's been an imperious Queen Elizabeth I twice -- including Errol Flynn's "The Sea Hawk." She's indomitable. If she told me to get out, I'd get out pronto.Tremble and obey.