Synopsis:
A petty criminal (Brahim Hadjadj) is recruited by a revolutionary leader (Saadi Yacef) to fight with the FLN (National Liberation Front) in the Algerian War of Independence, and is soon among a handful of individuals sought out by French paratroop commander Colonel Mathieu (Jean Martin) and his men.

Genres, Themes, Actors, and Directors:

• Flashback Films
• Historical Drama
• Revolutionaries

Response to Peary’s Review:
As Peary writes, this “extraordinary revolutionary film by Gillo Pontecorvo” — who “directed and wrote the script with Franco Solinas” — covers “the pivotal years, 1954 to 1957, in the Algerian struggle for independence from France.” While the “entire film looks like a cinéma vérité documentary” — especially given cinematographer Marcello Gatti’s use of “grainy stock,” and the intentional hiring of non-actors for all but one key role — this is actually “a fictionalized account of real and representative events that took place during the National Liberation Front’s guerrilla war against the French.”

It “not only shows how to conduct an urban guerrilla war (the reason it was studied by America’s Black Panthers) but also the necessity of violence in revolution” — and “equally important, it shows how oppressors — the French, in this case — conduct a counterrevolution.” As Peary argues, “you won’t believe that the shots of women planting bombs”:

… “and those of innocent people being killed aren’t real,” and “you’ll also feel you’re watching history when the French close in on some holed-up Algerian leaders.”

I should point out that Peary’s analysis of this “fascinating, thrilling” film is just one of many that have emerged since its highly contested release (it wasn’t shown in France for five years), with Criterion’s DVD release including numerous extras for those who would like to dive even deeper. Just part of this movie’s own storied history is that it was screened by the Pentagon in 2003 “for officers and civilian experts who were discussing the challenges faced by the US military forces in Iraq” (and as of the exact day I’m writing this, it remains enormously relevant for different but related reasons).

Indeed, as “fascinating” and “thrilling” as this film may be (and it is expertly crafted), it’s also deeply disturbing and hard to watch, precisely because of its authenticity. To that end, the filmmakers don’t shy away from depicting horrors and challenges on both sides — including, for instance, children mercilessly harassing a drunk man on the street after the FLN prohibited “the sale and use of all drugs and alcoholic drink.”

(We also see explicit scenes of torture, which were excluded from earlier versions of the film). Regardless of its challenging content, however, this remains a masterful depiction of revolutionary (and counter-revolutionary) tactics, and holds a deserved role in global cinematic history.

Note: For those seeking more precise historical context on the era, I recommend this video on The Cold War channel.

Notable Performances, Qualities, and Moments:

• Marcello Gatti’s cinematography
  
  
• Ennio Morricone’s score

Must See?
Yes, as an enduring cinematic classic.

Categories

• Foreign Gem
• Genuine Classic

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• DVD Savant Review
• Movie Diva Review
• WSWS Review
• Criterion Essay