I recall this star-studded epic being broadcast on TV during my childhood; in fact, it was one of a number of such efforts intended for the small screen that emanated at the time (others like it were THE JEWEL IN THE CROWN {1984}, THE SECRET OF THE SAHARA {1988} and THE MYSTERIES OF THE DARK JUNGLE {1991} - the last two were actually Italian productions and I was enough of age to catch them when new). Such exotic and intrinsically old-fashioned fare may have been borne from the Oscar triumph that was GANDHI (1982) but, needless to say, the various TV mini-series took a more romantic and action-oriented approach (especially since they were often derived from best-selling novels to begin with)!
Still, THE FAR PAVILIONS' five hour-plus running-time sensibly also encompasses numerous intrigues, plenty of local colour and even a smidgen of philosophy (particularly with respect to the conflicted protagonist, raised as an Indian only to discover that he is really English and, later, serving as a soldier - his knowledge of the country and its customs coming in handy for undercover missions - is entrusted with the protection of the woman of royal lineage he loves on her journey to be wed to a much older man from a neighbouring state). Being one of the most expensive made-for-TV projects up to that time, the production values were unsurprisingly top-notch: it was lensed (in evocative auburn hues) by the great Jack Cardiff and scored by the renowned Carl Davis, no less; among the more striking set-pieces, then, are the massacre at the Afghan fortress and the climactic funeral rite.
Casting is generally effective, with both veterans (notably Rossano Brazzi, John Gielgud, Christopher Lee and Omar Sharif) and newcomers (Ben Cross, Rupert Everett, Amy Irving, Benedict Taylor {lead of the recently-viewed 1982 TV adaptation of BEAU GESTE} and Art Malik) ably filling their roles and given their due amid the expansive, episodic proceedings. Finally, it is worth noting that this was eventually condensed (to a mere 110 minutes!) and renamed BLADE OF STEEL for theatrical consumption.
Still, THE FAR PAVILIONS' five hour-plus running-time sensibly also encompasses numerous intrigues, plenty of local colour and even a smidgen of philosophy (particularly with respect to the conflicted protagonist, raised as an Indian only to discover that he is really English and, later, serving as a soldier - his knowledge of the country and its customs coming in handy for undercover missions - is entrusted with the protection of the woman of royal lineage he loves on her journey to be wed to a much older man from a neighbouring state). Being one of the most expensive made-for-TV projects up to that time, the production values were unsurprisingly top-notch: it was lensed (in evocative auburn hues) by the great Jack Cardiff and scored by the renowned Carl Davis, no less; among the more striking set-pieces, then, are the massacre at the Afghan fortress and the climactic funeral rite.
Casting is generally effective, with both veterans (notably Rossano Brazzi, John Gielgud, Christopher Lee and Omar Sharif) and newcomers (Ben Cross, Rupert Everett, Amy Irving, Benedict Taylor {lead of the recently-viewed 1982 TV adaptation of BEAU GESTE} and Art Malik) ably filling their roles and given their due amid the expansive, episodic proceedings. Finally, it is worth noting that this was eventually condensed (to a mere 110 minutes!) and renamed BLADE OF STEEL for theatrical consumption.