A film commissioned by the Algerian government that shows the Algerian revolution from both sides. The French foreign legion has left Vietnam in defeat and has something to prove. The Algerians are seeking independence. The two clash. The torture used by the French is contrasted with the Algerian's use of bombs in soda shops. A look at war as a nasty thing that harms and sullies everyone who participates in it. Written by
John Vogel <email@example.com>
Director Gillo Pontecorvo and composer Ennio Morricone had regular disagreements over the movie's score. At one point, Pontecorvo had a melody stuck in his mind which he desperately wanted as a theme in the movie. He went to Morricone's apartment to play it for him, and hummed the tune all the way up to the top floor. Then Morricone asked him to wait with the tune, since he had conceived a melody of his own. To Pontecorvo's surprise, the tune was exactly the same as the one he had in mind, and he was delighted to find out that after all those months of struggling, they had finally found something, separate from each other, on which they could agree. It wasn't until months later at the Venice film festival that Morricone admitted that he had pulled a prank on him; he had already heard Pontecorvo humming the song while coming up the stairs, and decided to pretend he had come up with the same melody himself. See more »
In the final scenes of the film, showing the mass street protests, the French police are backed up by armored vehicles that are, in fact, Soviet-made SU-100 tank destroyers. These were part of the Algerian military when the film was made in 1966 after independence, but would not have been present or used by the French at any time. See more »
To know them means to eliminate them. Consequently, the military aspect is secondary to the police method.
See more »
In 1962 after more than 130 years of French colonial rule, Algeria became independent. Gillo Pontecorvo's `Algiers' shows the decade leading to that liberation in a powerful story about Muslims asserting their rights through violence, hiding, and plotting in the Kasbah, a demiworld of narrow, winding, seemingly endless alleys that are the only protection the rebels have from the eyes of the French. The re-release of the 1965 black and white film is a convincing story of a people who do not want to be occupied and will give their lives so their families can one day be free.
The story centers on a couple of Muslim leaders, the charismatic Col. of the French forces, and the bombings and shootouts that at one point averaged just over 4 per day. The film's sympathy is for the Muslims, but the Colonel has moments of reflection that could be sympathetic, especially with the revelation that he was a member of the resistance in WWII and may have suffered in a concentration camp. The director shows the influence of Italian neo-realists like Roberto Rossellini (`Paisan') by shooting in documentary style on location, using non-actors (except for the Colonel), and generally avoiding an agitprop angle.
But the film's sympathy in the end belongs to the occupied people. When 3 rebel women change appearance to look French, infiltrate, and plant bombs, the irony obvious to American audiences in their current struggle is a tribute to the strength of the narration and characterization and the universal dislike of occupation and subjugation.
The torture of the Muslim prisoners is the most poignant relevance to the recent scandal in Iraq. The Colonel's justification for the practice to gain life-saving information is classic `ends-justify-the-means' logic still being used by great nations. In fact, the Pentagon reportedly had seen this film during the first days of the second Iraq War; some say they learned nothing from the film, which is an unforgettable study of occupation and defeat.
78 of 94 people found this review helpful.
Was this review helpful to you?