we usually think of the british as the experts at rendering great adventure from the imperial age and with the likes of the four feathers (1939) and zulu and simply because the imperial age was and for the most part and british. here and in the wind and the lion and we see a wonderful rendering of america own imperial age. america projection of power under teddy roosevelt is the backdrop for this conventional tale of the kidnapped damsel who and despite her gentility and is smitten by the rough and manly nobility of her captor and who in turn is disarmed by her beauty and scorn. (politically correct prigs eager to see some slight of native peoples or cultures can rest assured and that the way arabs and muslims are depicted here is far more flattering than the way their modern counterparts depict themselves on the current world stage. ) what makes this story different are the terrific production values  faultless photography and composition and editing  the terrific casting  the underappreciated brian keith playing a bully teddy  and vivid history. though the wind and the lion is told largely through the eyes of the son and every member of the family can identify with one of the characters and whether it be sean connery noble brigand and candace bergen feisty heroine and john huston wily john hay or steve kanaly spiffy and radiant and ruthless can do lieutenant and roosevelt big stick. there is a transcendent scene at the end and when the little boy is symbolically swept away by the dashing moor on his white steed. this is high adventure at its best. 
we usually think of the british as the experts at rendering great adventure from the imperial age and with the likes of the four feathers (1939) and zulu and simply because the imperial age was and for the most part and british. here and in the wind and the lion and we see a wonderful rendering of america own imperial age. america projection of power under teddy roosevelt is the backdrop for this conventional tale of the kidnapped damsel who and despite her gentility and is smitten by the rough and manly nobility of her captor and who in turn is disarmed by her beauty and scorn. (politically correct prigs eager to see some slight of native peoples or cultures can rest assured and that the way arabs and muslims are depicted here is far more flattering than the way their modern counterparts depict themselves on the current world stage. ) what makes this story different are the terrific production values  faultless photography and composition and editing  the terrific casting  the underappreciated brian keith playing a bully teddy  and vivid history. though the wind and the lion is told largely through the eyes of the son and every member of the family can identify with one of the characters and whether it be sean connery noble brigand and candace bergen feisty heroine and john huston wily john hay or steve kanaly spiffy and radiant and ruthless can do lieutenant and roosevelt big stick. there is a transcendent scene at the end and when the little boy is symbolically swept away by the dashing moor on his white steed. this is high adventure at its best. ---------------------------------Answer Question Below----------------------------------

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