Reviewers have compared Breaker Morant with Paths of Glory, The Caine Mutiny and A Few Good Men, all involving courts martial. Suppressing my dislike of Kubrick, ignoring the naval jingoism spliced into The Caine Mutiny, and erasing the last 5 minutes of A Few Good Men, these weren't bad films. They were interesting, well-performed, raised provocative issues and all that. Breaker Morant, however, is everything those three are not. It's not in a different league, it's in a different dimension, stratospheric. It is real, as Woodward points out in his interview. It's visceral, gritty, organic, flawless. There's no Hollywood gloss, no pandering to the public, or vested interests. The other three movies are mechanical artefacts; you can see the machinery. Morant is dramatic art, at the topmost level. The editing is superb, the variation in scene after scene, close-ups, long-shots, is utterly masterful. Again, the dialogue, the sardonic humour, the tragedy, the irony, are all real. These men are rough and ready, in crumpled uniforms, truly in the field, on active service. There's no staging –-- well, there is, of course, it's a film --- but it just feels dead right, every time. It's not fancy. I'm reminded of what my boot camp drill sergeant told me, in 1956. This was a man who'd been busted two or three times, and who'd seen WWII in a British tank regiment, in the desert from Tobruk to Alamein. He told the rookie squad that the finest bunch of men he'd ever known were the Ozzies, and I've never forgotten that verdict. Anyone who gives this fabulous masterpiece less than ten stars needs his/her head examined.