The Four Feathers

    The Four Feathers
    2002

    Synopsis

    A young British officer resigns his post when he learns of his regiment's plan to ship out to the Sudan for the conflict with the Mahdi. His friends and fiancée send him four white feathers as symbols of what they view as his cowardice. To redeem his honor, he disguises himself as an Arab and secretly saves their lives.

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    Cast

    • Heath LedgerHarry Faversham
    • Wes BentleyJack Durrance
    • Kate HudsonEthne Eustace
    • Djimon HounsouAbou Fatma
    • Alex JenningsColonel Hamilton
    • Michael SheenWilliam Trench
    • Lucy GordonIsabelle
    • James CosmoCol. Sutch
    • Angela DouglasAunt Mary
    • Daniel CaltagironeGustave

    Recommendations

    • 88

      New York Post

      Splendidly spectacular, intelligent and very well-acted.
    • 63

      Miami Herald

      What The Four Feathers lacks is genuine sweep or feeling or even a character worth caring about.
    • 63

      New York Daily News

      Ultimately, The Four Feathers is strong where its predecessors were weak (in the authenticity of combat) and weak where they were strong (in the larger-than-life quality of the characters). It's not a good exchange.
    • 60

      Chicago Reader

      The film's opening and closing moments are weirdly reminiscent of "Black Hawk Down," another tale of Western soldiers in over their heads on the dark continent -- clearly no one these days understands manifest destiny.
    • 50

      Rolling Stone

      It should have been an old-fashioned rouser, and sometimes it is. The great cinematographer Robert Richardson (JFK) lights the battle scenes like action paintings. But Kapur weighs down the tale with bogus profundities.
    • 50

      Village Voice

      Feels both tiresomely old-fashioned and disturbingly topical.
    • 50

      Austin Chronicle

      Offers too small a dose of the blood-and-sand adventure you expect from this sort of big-budget Hollywood remake. As it is, it borders on The English Patient's on again-off again heroics, minus Anthony Minghella's patient skill in eliciting romantic suspense.
    • 40

      The New Yorker

      Illogical and glum. [30 Sept 2002, p. 145]

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