John Connery glorious came out of relative ambiguity to conquer the part of the Jamesesheims Bond because of the characters of Kerry Grant and David theirs. Manufacturers were certainly rewarded for his faith in the Scottish, who made his role in five hit 007 adventures before leaving (just to return to "Diamonds are forever" and "Never tell never again.") Those films made the name of the household, a sex symbol and an international icon, but they probably overshadowed the rest of his career. But he had a significant ability to look great in tuxedo, and two of his most important roles came to work with Sidney Lummet in Hill and the offense. Ironically, the first of these films may not have happened without the style of Connery of the Secret Service of Her Majesty.

Although Connery has already begun to tire to play a bond after "D -NO" and "Goldfinger", he used his credit from those films to split into more serious dramatic roles, appearing in Alfred Hitchcock's "Marnie" and Alfred Hitchcock's "Woman. Even better was Lumme's "The Hill", which Connery admitted could not exist without his power to drag power after playing Suave's secret agent. He told Playboy magazine:

"(Bond's success) had everything with it, of course. As, in fact, it may not have been done at all, except for Bond. It's a wonderful movie with very good actors in it, but it's a kind of film that can be considered a non -commercial art house without my name.

Both Connery's films with Lumer are perhaps underestimated because they are both pretty dark and hard. I would argue that Connery's best performance took place at the "offense" in 1973, where he played burnt copper in the case of a suspected sex offender (Ian Banen in the role nominated for BAFTA), who may have his devoid fantasies. Eight years earlier, he was almost as good at Hill, playing a Sardon -based prisoner who clashed with authorities following the unnecessary death of a prisoner. Let's look closely.

Hill is a powerful drama set during World War II in the British military prison in the Libya Baking Desert. The facility is led by the stubborn Sergeant Major Wilson (Harry Andrews), a seasonal man in his career, who is proud of his ability to break down Rekoms and build them in worthy soldiers. His two are directly aligned staff official Williams (Ian Hendri) and Sergeant Harris (Ian Banen), two men who differ much in their approach to dealing with prisoners. This becomes very obvious when they get a new series of prisoners: Meik deserter George Stevens (Alfred Lynch), the lazy black marketer Monty Bartlett (Roy Kinear), a solid drink Occkok McGrat (Jackec Watson), and Leiser Western Indian Private. Among them is Walnut Wilson really wants to give in, Oeo Roberts (Connery), a former Escadrila leader who is convicted of beating his commander, after refusing an order to climb a suicide mission.

After the new arrivals were declared suitable by a prison medical officer (Michael Redgrave), they were handed over to Williams as a cruel introduction to the camp life. The favored method of discipline is a rush inmates over the title hill, frightening steep artificial mounds of loose sand. Williams feels the weakness of Stevens and targets him for an additional punishment, causing him to die of extreme physical and mental exhaustion. Death carries the prison to the edge of the unrest and causes rubbing between the screws on the head, while Roberts is bravely moving forward to accuse Williams of murder. But who else will have the courage to support him, and who will hear?

Hill was written by Ray Rigby, a British screenwriter who served in North Africa during the war and spent two spells in the military prison. He channeled his experiences in the script, which enters with unforgivable authenticity. Access to Sidney Lumme's documentary also adds to realism, filming the location in an old fortress in southern Spain and often uses a handmade camera to provide a sense of movement and immediacy. Oswald Morris' lucid cinematography really captures the burning heat there on the hill; I can't think of another black and white movie that looks hot. Production on the actors was real, however, as temperatures during the shooting rose to 46 degrees Celsius (it is 114.8 degrees Fahrenheit, to call).

Despite winning the prizes in later life (especially his only Oscar for his performance in the "untouchable"), the general consensus seems to be John Connery a better Superstweet than the actor. His performance at Hill proves that he was very serious about the latter; Not only is he a very good role of anti-authoritarian Roberts, he also shows what a calm team player he might be. Although the film is built on the back of the huge success of his Jamesesheims Bond adventures and he received the highest recovery, he plays a lot of the ensemble here, delivering an intelligent and vigilant performance that works in perfect synchronization with the actor actress.

Indeed, Connery seems to be happy to support those in far -reaching roles, such as Ian Hendry as a malicious and cowardly sergeant to the staff Williams and Harry Andrews as a sergeant Major Wilson, who received a BAFTA nomination for his dominant performance. Taken together, these two characters provide fascinating criticism of authority in pressure circumstances. Williams is an ambitious Jobobosworth, whose importance is saturated at dangerous levels of responsibility, while Wilson is blinded by his commitment to the King and Earth before Stevens' death is pressed into the regime of restriction. The rest of the cast also has great moments, especially wasps Davis and Michael Redgrave, before Connery got a chance to make a little greatness to the end.

Limited almost completely within the fortress of the fortress, Hill is a film of capture and adamant. More than a prison drama than outside and out of military film may have the most in common with Sidney Lummet "12 Angry Men", who also focused on a brave dissident of the justice mission among the huge team of all male. I also remind you of Brian Forbes' similarly underestimated "King Rat" (also published in 1965) and its exploration of the dynamics of power and social structures within the POW camp. Finally, the relentless barking authority and the moments of black humor is reminiscent of the segment of the camp to boot "Full Metal Jacket", "" No combat sequence of the second half to alleviate the pressure. It is not always an easy watch, but the "hill" stands comfortable along with all three as a classic with a nailed to Connery in the middle, just enjoying the chance to act. For this, we have to thank the Jamesesheims Bond.