The Man Who Would Be King is a captivating 1975 adventure film adapted from Rudyard Kipling’s 1888 novella, directed by John Huston and featuring a stellar cast that includes Sean Connery, Michael Caine, Saeed Jaffrey, and Christopher Plummer, who narrates the story. Set against the backdrop of late 19th-century British India, the film follows two rogue ex-soldiers, former non-commissioned officers, on a quest for easy riches that leads them to the far-flung region of Kafiristan. Here, they encounter a world rich in culture and mystique, culminating in a twist where one is mistaken for a god and crowned king.
The film takes some time to find its footing, with the first act feeling a bit disjointed. It opens with a framing device that presents a future scene where characters meet years later to recap past events. This unnecessary device introduces an equally superfluous narration by Plummer’s Kipling, which detracts from the story’s impact, as that character does not even participate in the film’s events. While the scenes leading up to the adventure don’t drag, they don’t add much either; the personalities and bond between the two main characters become much clearer once their journey begins. As Daniel Dravot and Peachy Carnehan start their quest, the film picks up pace, with Huston expertly blending humor and gravity. The stunning landscapes elevate it to capital-M Movie status. At the same time, Maurice Jarre, composer of epic classics like Lawrence of Arabia, once again provides a score that enhances the film’s grand tone.
The most engaging scenes unfold once they arrive in Kafiristan, where the culture and landscape are explored in depth, imparting a strong sense of scope. The film effectively conveys essential aspects of the local culture with impressive economy. While it touches on themes of ambition and the limits of human desire, it ultimately lacks depth and complexity in its two main characters, both played in familiar styles by Connery and Caine (though Caine’s shouting can feel a bit excessive). Their friendship shines through, but there’s minimal conflict or character development, missing an opportunity to contrast Western culture with that of the tribe they encounter. Despite these shortcomings, the city’s size and the richness of its culture create a captivating adventure. Although the film flirts with the white savior trope, it acknowledges this by portraying its characters not as heroes but as opportunists. Ultimately, it delivers an exhilarating adventure, but falls short in its exploration of ambition and the nature of human desire.