Shout at the Devil (film)

The book on which the film is based is vaguely based on real events, but takes significant artistic licence with historical facts. The main story is loosely based on events concerning the light cruiser SMS Königsberg, which was sunk after taking refuge in Rufiji Delta in 1915.[4] Ivory hunter P J Pretorius had gone aboard Königsberg disguised as a native to pace out the ranges for the Royal Navy's guns.[2][8]

In the film the German ship is named Blücher; there was a vessel of this name, but it did not serve in Africa. The actual SMS Blücher was an armoured cruiser which sank during the Battle of Dogger Bank. The film implies that Portugal became a co-belligerent with Britain against Germany when the First World War erupted in August 1914, as the Portuguese supply O'Flynn and Oldsmith with a marked Portuguese plane and a Portuguese pilot to conduct surveillance in German territory. In reality, the Portuguese would not have permitted this, as they remained neutral until 1916.

Although the motives for killing Fleischer are personal, Sebastian Oldsmith is, in fact, the only major character who is a citizen of a nation actually at war with Germany.

Film rights were bought by Michael Klinger, who would also buy the rights to Gold Mine, The Sun Bird, The Eye of the Tiger and Eagle in the Sky.[2] It was announced in 1969 that the film version would be made by Cinerama Inc. but it took a number of years for the adaptation to be financed.[9]

In 1971 Smith wrote to Klinger that, "It is now becoming critical that somebody start making films out of my books. This is essential for my career – which really needs a good film to take off in the Alistair MacLean class."[2]

Klinger was highly enthusiastic about Shout at the Devil – his son referred to it as his father's equivalent of Gone with the Wind. The producer himself called it a combination between The African Queen and The Guns of Navarone. However it was an expensive film to produce. Klinger decided to first make a film of Smith's novel Gold Mine.[2]

Smith worked on the script with Stanley Price, who also helped adapt Smith's novel Gold Mine for Michael Klinger.[10] The script adaptation kept the murder of the baby. However, the film ending was changed; in the novel all three main characters die.[11]

The film's budget has been reported as $9–10 million. Klinger said $3.5 million was provided by AIP.[12]

The film was shot on location in Malta and – controversially due to the then-apartheid regime – in South Africa. Shooting took fifteen weeks and began in March 1975. The South African portion of the film was based in the town of Port St Johns.[13]

Stars Roger Moore and Lee Marvin got along well. "They were very funny and liked each other a great deal", said director Peter Hunt. "They would socialise and get drunk together in the evenings, although they never had thick heads in the morning."[13]

"I love this gentleman", said Moore about Marvin. "Thanks to him I have given my best performance ever. I can only be as good as the other guy. Working with Lee Marvin hauls you up, forces you to try to reach his level."[13]

The movie was cut during post production with around 50 minutes cut out.[13]

The music was composed by Maurice Jarre.

The film was one of the most successful British films of 1976 grossing £15 million.[2] It was the 14th most successful film in the UK for the year 1976 having spent a week at number one (24 April 1976) on the box office chart.[14]

Critic Richard Eder did not like the film much. He wrote, "The movie has too much plot. All that action, conducted by characters without character—except for Fleischer, whose childlike joy in hurting people is almost appealing—produces lethargy...the movie is a passable midget in absurdly long pants."[15]

Film critic Roger Ebert thought that "Shout at the Devil is a big, dumb, silly movie that's impossible to dislike. It's so cheerfully corny, so willing to involve its heroes in every possible predicament, that after a while we relax: This is the kind of movie they used to make, back when audiences were supposed to have the mentality of a 12-year-old. It's great to be 12 again."[16]