The Ghost and the Darkness (1996)

Constellation Films, A Douglas-Reuther Production,

Opened: October 11, 1996

Running Time: 2h2m

The Ghost and the Darkness is a film based on events that took place at the turn of the century in 1908--displaying in its opening moments as, "a true story" in which, "only the most incredible parts are true."

Val Kilmer, our protagonist, is Irish Colonel John Patterson of the British Empire. He is in his mid 30's, and has longed to see Africa his entire life, denoting the continent as his topic of ongoing pursuit of study. The film opens with his award of six month assignment to build a bridge for a railroad: Somewhere, South Africa.

Colonel Patterson oversees the project smoothly at first, but it is then evident that there is a lion on the loose. He befriends the only man "anyone can trust," Samuel, a native African. His character's integrity relies on the consideration of the great multitude of race of the front, where vast ethnicity is represented through the diversity of the laborers. But Patterson builds bridges, and hopefully, will "bring civilizations together." Just as he has accepted these challenges as life has presented them before him, he must also accept this challenge to bring together this civilization that he is now enveloped within. The Colonel displays courage and marksmanship in response to the lion's lurking by "sorting it out"--actually staking out the animal one night and gunning it down between its eyes. The further existence of the lion would have kept the workers in fear, ultimately jeopardizing production and cohesiveness. Rather, "one shot has taken their fears away."

After Patterson's display of bravery, days of efficient production, and earned trust of the workers, a new problem presents itself in a flash of the night when the camp is sleeping. Perhaps the strongest man of the camp, a native African warrior who has also been known to kill a lion--but with his bare hands--is dragged from his quarters by a new lethal lion hundreds of yards away, eaten alive by the stripping of his flesh. As concluded by substantial sources on the site, this is not the "typical" behavior of an ordinary lion.

Literally dozens of workers--a combination of Muslims, Indians, Hindus, and native Africans as well as the missionary at the camp--are literally devoured alive by now a pair of lions that strike by night as well as day. At the moment where the pandemonium and fear have reached a climax, and it is clear that Colonel Patterson may face a revolt as well as the loss of his own life, Charles Remington, played by Michael Douglas, steps in for his first moments in the film. Remington qualms the tension to an abrupt halt declaring in his own cocksure and confident manner, "There's been a slight change in plans, friend...You're asking yourself, am I gonna pull this trigger?"

We learn that Remington is by trade and nature a nomadic hunter that has traveled the world simply because "some guy invented gunpowder." His character is fresh, flamboyant, and colorful. He has come to these parts with his tribe of native spear hunters that specialize in the termination of lions. As has been the struggle to this point in the film, Remington and Patterson see little success in their many pursuits of the beasts despite their creative ingenuity and astute bravery--and lives have continued to be expended through their lack of progress. Remington is astounded by these lions' behavior, concluding that they rip the skin off their victims to drink their blood. We see that their den is merely a "place of slaughter." They kill simply because "they are liking it." Finally, during a sequence of dramatic and life threatening action, Douglas guns down one of the pair of lions with his crafty marksmanship. Our main characters celebrate, but nevertheless, fear remains prevalent--for the entire problem has not been eliminated. However, like the "bullies" Douglas tells us about that caused havoc during his childhood, "the (remaining) lion is afraid--because he is alone."

But all conquests must come to an end--some successfully, and sometimes--not. After Remington suffers a fate similar to the first casualty, Patterson is left to face the sole lion alone. He is with little help, for at this point, we know Samuel is not fit to display the courage necessary to somehow quash this life threatening nuisance. Patterson devises a concept that will give him an optimal position over the lion. As this effort does not prove successful in the end, it is Samuel that comes to the protagonist's aid to give him the arms necessary to qualm the lion. Dramatically, Patterson gains a hold of this item and kills the remaining lion seconds before doom would have prevailed him. He is a hero once again, and lives to see his new family.

The film ends on the note that these lions remain alive, today, in spirit, as they can be seen at the museum in Chicago, Illinois.

Several elements comprise this film's great interest. First hand, Director Stephen Hopkins includes an array of shots displaying an interesting mixture of blends of darkness and light, especially for transition from scene to scene. Ultimately, we perceive a mysterious aura that visually shows the power of darkness, which the people understand no more than a ghost. These elements heavily support a perpetual symbolic notion of mood comprised through the pictorial elements of color, and lack of it.

It must also be heavily considered that this screenplay has been written what many consider as "the father of screenwriters," William Goldwyn. Goldwyn truly incorporates the three act structure necessary for comprising maximum interest within an audience. We are introduced efficiently in screen time, realize the challenge and limitations, recognize a detailed and exciting pursuit for amends, and come to a conclusion in a just manner where action and resolution has been paid off according to the information presented within the film. Goldwyn provides motivation, logical connection, and interesting characters we grow to care about as the vehicle to present his message.

The film builds its suspense and action through the notion of bravery. This camp would have been at the ultimate mercy of the beasts had no man displayed the courage to stand up to these "man eaters." In response to a statement that, "A man like you does not seem to need to worry about the issue of bravery before battle," Remington declares that "You hope each time it isn't--but you never really know." His character is ultimate in dramatic reasoning for action. He is a killer, he knows he is human--with innate limitations, and he realizes all he has accomplished may at one moment in time be at the mercy of mistake or unfortunate occurrence. Though it is his nature, he admits that killing is his born talent--not his passion, as is true for the lions. Kilmer's character is very similar, conveyed to us through his convincing manner of action. This raises the stakes to what we as an audience desire for the fates of the characters. It is all on the line, and the action proves their outcome.

The Ghost and the Darkness truly incorporates story structure, action and adventure in accordance with human strife. It is man's power within himself and his cooperation with men that ultimately prevails over beast. If you desire breathtaking moments, visual spectacles of distant lands, and the power of the human being to rise to and even above life's inherent challenges, I recommend at least a dose of the following flick. But I warn you, it will be suspenseful, and you must, I repeat MUST, tip-toe past the lion, never sleep in its presence, and never, NEVER let 'em see you sweat.