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Based on the novel by Daniel Carney, The Wild Geese is a classic British action-adventure movie which follows the tried-and-true formula successfully mined in such films as The Dirty Dozen and The Guns of Navarone. It's a remarkable combination of male bonding, military stereotypes, detailed briefings, last-minute snafus, double-crosses and (above all) epic, violent shootouts. Yet this venture is also inherently British, and it's all the better for it.
The plotline is your usual men-on-a-mission tale with a few extra twists. High-powered banker Edward Matherson (Granger) hires a faded mercenary named Allan Faulkner (Burton) to assemble a band of mercenaries to execute an assignment in Africa. Their mission is to rescue imprisoned former African leader Julius Limbani (Ntshona) who's critically ill and due for execution. After the recruits endure a bout of boot camp training, they're dropped into the bush. The mercs are able to pull off their mission without a hitch at first, but then things get ugly...
While the brilliance of The Wild Geese is partly attributable to the high action quotient, the strong characterisations are perhaps the film's most enduring element. In the same vein as The Dirty Dozen, the film takes its time with the characters - prior to the action, an enjoyable collection of scenes are provided which depict the soldiers on their home turf as the determinedly over-the-top Faulkner assembles his team. Reginald Rose's screenplay cleverly varies the motivations of the mercenaries; some are in it to support their high living, while others are aging soldiers seeking one final great adventure. Some believe in the cause, while others simply need the cash to pay rent. This character development capably elicits sympathy for what would otherwise be a pretty unscrupulous bunch of mercenaries. The pace rapidly picks up once the squad are shipped to Africa for training. Tension builds inexorably as the fastidiously laid out plans begin to work far too smoothly. From there, the film alternates between daft but engaging action sequences, and scenes of heavy exposition. Smartly, the script doesn't ignore or condone the inherent moral contradictions of mercenary life. The characters are given the chance to discuss, criticise and defend their chosen profession (and, in one case, racism).
The direction by Andrew V. McLaglen is brilliantly taut; the film only occasionally bogs during the 130-minute runtime. Once The Wild Geese shifts into its third act, the action sequences are frequent and fantastic. Despite the fact that this actioner was made in the 1970s, it manages to rival action set-pieces in contemporary military pictures. Certainly, the gore factor isn't astronomical (à la Saving Private Ryan) but a lot of blood is spilt and the body count is phenomenal. With the assistance of John Glen, McLaglen has created skilful set-pieces; from the tense covert infiltration to the full scale battles. This builds up to the excellent climactic action scene that transcends the conventions of the genre with its gritty nature and the lack of mercy shown towards the film's most amiable characters. All of this is accompanied by the appropriately militaristic themes conjured up by the film's composer Roy Budd. The score suits the movie perfectly during the exciting gunfights, as well as the more emotional moments when subtler cues are employed.
Several of Roger Moore's colleagues (from the James Bond films he starred in) also worked on The Wild Geese: Maurice Binder designed the title sequence, Bob Simmons had a hand in the stunts, Syd Cain took care of production design, and the aforementioned John Glen was both editor and second unit director. The cinematic techniques can be perceived as dated, but at the time they were fairly cutting-edge, and this should be respected. Besides, the filmmaking is not dated to the point that it's distracting. Alas, there are a few problems with this movie - some sloppy dialogue, an overlong runtime, a few contrived endangerment scenarios, and a sense of predictability & unoriginality that can't be eluded throughout the second half.
Another great joy of The Wild Geese is witnessing so many fine British & Irish stars and character actors gathered together in one film. Three acting giants of British cinema took the lead roles here. Heading the list is Richard Burton as the cynical Colonel Faulkner. Expectedly, Burton is superb; dominating the screen at all times and attacking dialogue with great gusto. Richard Harris as Rafar Janders is equally exceptional; he's a remarkable counterpoint to the apparent immorality of Burton's Faulkner, and he's the emotional core of the film. Completing the trio is none other than Sir Roger Moore as Shawn Flynn. Back in 1978, Moore was in the midst of his seven-film run as James Bond, but the actor wisely brings Flynn to life with a much harder edge (as evident with the character's introduction - Flynn forces a drug kingpin to eat heroin laced with strychnine at gunpoint). German actor Hardy Krüger is another fitting addition to the Wild Geese roster in the pivotal role of South African Lt. Pieter Coetze. He submits a remarkable performance.
Interestingly, there's a key indicator of this being a '70s film - the almost complete lack of woman; something which probably would not be allowed by head office in the 21st Century. The top-billed actress of this movie is Rosalind Lloyd (producer Euan Lloyd's daughter) in a two-scene role as a croupier in love with Shawn Flynn.
The Wild Geese is a classic slice of '70s action-adventure, with a cast of UK movie legends, some memorable dialogue and a plethora of spectacular action set-pieces. When you're in the mood for a high-calibre, top-notch Brit action film, you can't do better than this. As the saying goes; "They don't make 'em like this anymore!"
7.8/10
