A downbeat and joyless drama, the film's politics are dull, but there some strong themes running throughout, and there is also a strong central drama concerning a marriage between persons with opposite views of life and the world. It is a shame that there is not more time dedicated to Finch and Ure's interactions, because the side of the film dealing with politics and the lives of locals just is not handled too well. The lack of background and setting detail is no help, but this side of the film simply fails to do more than what merely is adequate, and it is done in a manner so dreary that it is hard to swallow. Overall the film is okay viewing, but it had the potential to be more. Finch and Ure have some strong moments together but definitely not enough.

This is an intelligent film about an innocent -- perhaps naive -- man and village community caught up on the edge of national turmoil, and it avoids both obvious political cliché and easy answers. Into its widening canvas, from individual to village to province to ultimate future of a nation, it also weaves a tentative attempt at reconciliation between the eponymous English doctor and his ambitious ex-social butterfly of a wife: both have an alternative romance mutely on offer, although nothing is ever explicitly stated, and the broken marriage is on shaky ground at best.

So far so good -- personal and political combine, as they have done since 'Gone with the Wind', though with the political for once taking the leading role. There are beautiful location shots, some very effective action sequences, especially in the crowd scenes, good use of background music, skilfully understated dialogue that avoids the need for open exposition, and an unexpected humanity and depth in the treatment of all the characters. Ultimately, however, I found it curiously unsatisfying as a drama: I have a depressing suspicion that for all their merits, the equivocal realism and avoidance of the emotional broad brush seen here perhaps deprive the film of some of the force of pure entertainment.

We are enlisted in the conflict, drawn to take sides, tossed pawn-like in unsuspected undercurrents and then cast out, bruised and numb, to effectively wash our hands of the whole affair. It reflects the genuine messiness of real life, but it's not catharsis; this has more of a documentary feel. It's a well-made film, and held me riveted while it ran, but after the end credits I was somehow left feeling 'Is that it?'

The natives are revolting in this Malysian-set drama that finds Peter Finch's liberal doctor battling with his conscience, (he favors the natives over the imperialists who are exploiting them but doesn't have much truck with the murdering rebels either),and trying, at the same time, to save his marriage to beautiful, addle-headed Mary Ure. Ure oscillates between being a pillar of strength one minute and almost total naiveté the next. (Her actions don't auger well for pretty nurse Natasha Parry but then she is there when needed to get her husband out of a tight spot).

Actually this fifties-made British movie isn't at all bad. It's exciting and not as cut-and-dried nor as black-and-white as other films of its kind: you can appreciate Finch's dilemma. Performances, too, are fine. Finch and Ure are excellent and there are surprisingly good supporting turns from the likes of Marne Maitland, Gregoire Aslan and Robert Flemying. No classic then but it would have made for an enjoyable night out in its day.