An overlooked wonder from down under

Ask the younger set to explain – or even correctly pronounce – the Boer War and many will likely rephrase it in snarky fashion as the “bore” war (remember all those high schoolers dozing off in your history class?). But Breaker Morant, the gripping 1980 Australian historical war drama directed by Bruce Beresford that’s set during the Second Anglo-Boer War in 1901, is far from a dull watch. The film follows the court-martial of three Australian lieutenants in the Bushveldt Carbineers – Harry "Breaker" Morant, Peter Handcock, and George Witton – accused of murdering Boer prisoners and a German missionary. Adapted from Kenneth G. Ross’s play, it examines the moral ambiguities of wartime justice and how the men were allegedly sacrificed by the British military for political convenience.

Edward Woodward stars as the charismatic Morant, with Bryan Brown as the loyal Peter Handcock and Lewis Fitz-Gerald as the idealistic George Witton. Jack Thompson delivers a standout performance as Major J.F. Thomas, the inexperienced but principled lawyer defending them. The film remains highly regarded 45 years later for its literate script, taut direction, and powerful performances.

To listen to a recording of our CineVerse group discussion of Breaker Morant, conducted last week, click here.

The timing of this picture’s release in 1980 arguably helped it resonate with American audiences. That’s because the Boer War and this film draw many parallels to the Vietnam War, which Americans were still healing from emotionally 45 years ago. Both conflicts involved fighting against an elusive, hidden enemy that blended in with civilians and employed guerrilla tactics, leading to frustrating and bloody circumstances, including genocide. Consider how this narrative also conjures up loose comparisons to the tale of Lt. Calley and his conviction for the My Lai massacre in Vietnam in 1968.

The film is admirably structured, with interspersed flashbacks as opposed to being told chronologically; these flashbacks add emotional resonance to the courtroom scenes they are juxtaposed with. Likewise, Beresford does a commendable job telling the story relatively objectively, allowing viewers to come to their own moral judgments on Morant, Handcock, and Witton. There’s an agenda here, of course, to accentuate the unjust travesty of the entire trial, but the three prisoners aren’t so easily let off the ethical hook.

Breaker Morant doesn’t suffer from spending most of its time in the confines of a courtroom setting. The claustrophobic framing and tight compositions of the interior scenes contrast creatively with the expansive, colorful wide shots of the scenic countryside. By using long shots during the more action-oriented flashback sequences, the soldiers who will later stand trial are visually depicted as pawns on a large chessboard—small players on a large canvas. Contrast this with the frequent close-ups of the soldiers in the courtroom.

Thematically, the filmmakers trod interesting territory. Breaker Morant is foremost concerned with the injustices and hypocrisies of combat and the unfairness of the politics of the military elite. The film sharply critiques how morality in wartime is often inconsistent and politically motivated. Behaviors that were tacitly accepted in the heat of battle are later punished when convenient for higher command. This inconsistency exposes the way war enables brutal actions to be both condoned and condemned, depending on who benefits from the narrative. It’s not a film about guilt or innocence but about injustice, hypocrisy, and the falsity that war can be waged cleanly, completely honorably, and morally.

Consider the abundant ironies afoot in Breaker Morant. The trio is being tried for crimes they were ordered to commit. Many consider it a travesty to prosecute soldiers for murder in the context of a guerrilla war where there are basically no rules. Also, the fort is besieged by the Boers, and the prisoners are freed and allowed to kill more Boers before the trial continues.

This work also intelligently contemplates war’s toll on human lives and how combat pushes soldiers to commit extreme acts of horrific violence. Beyond the political and legal messages, it’s a powerful meditation on the emotional and psychological costs of warfare, for trying the soldiers as men deeply affected by the violence around them – often forced into morally ambiguous situations that leave lasting damage. This theme reinforces the broader tragedy of war beyond the battlefield.

Throughout Breaker Morant, there’s a strong undercurrent of emerging Australian nationalism, too. The picture presents the Australian soldiers as outsiders in a British-led military system, emphasizing their unique character, voice, and values. Their treatment during the trial highlights the tensions between colonial loyalty and a budding sense of independence, reflecting Australia's growing desire to distinguish itself from British imperial rule.

Breaker Morant also probes the limits of military duty by exploring the consequences of following orders. The film asks whether a soldier can or should be held morally accountable for actions taken under command. It anticipates later global conversations about wartime responsibility and ethics, especially those surrounding post-WWII trials.

Similar works

• Paths of Glory (1957)
• Judgment at Nuremberg (1961)
• King and Country (1964)
• Gallipoli (1981)
• The Killing Fields (1984)
• Casualties of War (1989)
• A Few Good Men (1992)
• The Thin Red Line (1998)
• Australian wave of films that hit big in America in the late 1970s and 1980s including Mad Max (1979), The Road Warrior (1981), and Mad Max Beyond Thunderdome (1985); Gallipoli (1981); The Year of Living Dangerously (1982); The Man from Snowy River (1982); Crocodile Dundee (1986); and The Lighthorsemen (1987)
• Other movies set during the Boer War, such as The Boer War (1914), The Adventurers (1951), Majuba: Heuwel van Duiwe (1968), Strangers at Sunrise (1969), Arende (1994), and Verraaiers (2013).

Other films by Bruce Beresford

• Tender Mercies (1983)
• Crimes of the Heart (1986)
• Driving Miss Daisy (1989)