One new NCO guard who has also just arrived employs excessive punishments, which include forcing the five newcomers to repeatedly climb a man-made hill in the centre of the camp.

Roberts is a former squadron sergeant major from the Royal Tank Regiment, convicted of assaulting his commanding officer – which he explains to his fellow inmates was because he was ordered to lead his men in a senseless suicidal attack.

King again protests, and after being subjected to racial abuse by the RSM, refuses to wear the uniform or acknowledge any form of army discipline.

The medical officer and Staff Sergeant Harris insist on reporting the abuses at the camp whilst the RSM and Williams join forces in an attempt to intimidate them into backing down.

[2] Lumet says he told Connery before filming began that, "'I'm going to make brutal demands of you, physically and emotionally', and he knew I'm not a director who has too much respect for 'stars' as such.

[3] Many people associated with the production had regarded the filming as pleasant, despite difficult conditions: Temperatures went above 46 °C (114 °F) and nearly all the cast and crew became ill, even though thousands of gallons of fresh water were brought in.

[4] In a manner similar to Lumet’s previous film 12 Angry Men, also an analysis of the justice system, The Hill does not use a non-diegetic musical score.

[7] A review in Variety called the film "harsh, sadistic and brutal entertainment, superbly acted by an all-male cast, and made without any concessions to officialdom. ...

Sidney Lumet's forceful and authoritative direction gives added power to the production, and Oswald Morris's stark black and white lensing adds to the tough realism.

"[8] The Monthly Film Bulletin wrote "Strikingly shot in clear, clean lines by Ossie Morris, this subject, at least until the frenzied final stages when the plot takes over entirely, seems to provide the ideal outlet for Sidney Lumet's discursive and fastidious talent.

"[10] Variety wrote "Breaking away from his 007 image, Connery gives an intelligently restrained study, carefully avoiding forced histrionics, The juiciest role, however, is that of the prison regimental sergeant major, and Harry Andrews does a standout job.

"[8] In a comparatively negative review, Leslie Halliwell called the film "Lurid melodrama which descends fairly quickly into black farce with a number of sweaty actors outshouting each other.

[7] Lumet and Connery so enjoyed their collaboration that they would subsequently work together on four films: The Anderson Tapes, The Offence, Murder on the Orient Express, and Family Business.