Patricia Caillé, ‘The Illegitimate Legitimacy of Battle of Algiers in French Film Culture’, Interventions: International Journal of Postcolonial Studies, Vol. The FLN has been eliminated. One tries to approach reality as much as possible, only it’s not reality. 371–88. Turning the crowd into a genuine entity, the Italian director embodies the belief that cinema as an art of the masses can be not only revolutionary but democratic. The Battle of Algiers (Italian: La battaglia di Algeri; Arabic: معركة الجزائر, romanized: Maʿrakat al-Jazāʾir) is a 1966 Italian-Algerian historical war film co-written and directed by Gillo Pontecorvo and starring Jean Martin and Saadi Yacef. The Battle of Algiers, Italian-Algerian war film, released in 1966, that is the signature achievement of director Gillo Pontecorvo and an acclaimed experiment in cinéma vérité. Times reporter Michael Kaufman wrote that Pentagon audiences were "urged to consider and discuss the implicit issues at the core of the film -- the problematic but alluring efficacy of brutal and repressive means in fighting clandestine terrorists in places like Algeria and Iraq." T he rerelease of Gillo Pontecorvo's 1966 black-and-white film The Battle of Algiers, recreating France's suppression of the 1950s Algerian uprising, … The film was shot in a Roberto Rossellini-inspired newsreel style: in black and white with documentary-type editing to add to its sense of historical authenticity, with mostly non-professional actors who had lived through the real battle. Its content clearly brings out the unbiased story in the war. Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. Indigenous Algerian drumming, rather than dialogue, is heard during a scene in which female FLN militants prepare for a bombing. Specific incidents in this battle in Algiers between 1954 and the time of independence in 1962 are presented. His portrayal had autobiographical depth. The Battle of Algiers: Critical Analysis 2185 Words | 9 Pages. To understand why, come to a rare showing of this film. Saadi Yacef who plays El-Hadi Jaffar and Samia Kerbash who plays Fatiha are both said to have been members of the FLN and Pontecorvo is said to have been greatly inspired by their accounts. The French government sends the military forces under the command of the abusive Colonel Mathieu that does not respect the human rights and uses torture to destroy the NLF command. Children shoot soldiers at point-blank range. [citation needed], For The Battle of Algiers, Pontecorvo and cinematographer Marcello Gatti filmed in black and white and experimented with various techniques to give the film the look of newsreel and documentary film. It was described at the time as "impartial," alternating between the stories of the Algerian National Liberation Front (FLN) and the French police and paratroopers assigned to destroy it. His protagonists are a French colonel (Jean Martin), who respects his opponents but believes (correctly, no doubt) that ruthless methods are necessary, and Ali (Brahim Haggiag), a petty criminal who becomes an FLN leader. [Country: Italy, Algeria. Their actions were met by French paratroopers attempting to regain territory. Instead, Gillo Pontecorvo, in his 1966 film, The Battle of Algiers, presents the war uniquely in terms of the FLN against the French paratroopers. In short, the possibilities of torture. There are people who do very clever things, which have completely fascinated and fooled me. Pontecorvo's film was released at the peak of anti-war sentiment in the United States, and had a surprising box-office success; it played for 14 weeks in Chicago. A woman standing outside a cafe will hand him a gun. Both insurgent groups and state authorities have considered it to be an important commentary on urban guerrilla warfare. But there are other characters: an old man beaten by soldiers; a small Arab boy attacked by French civilians who have narrowly escaped bombing; a cool young Arab girl who plants a bomb in a cafe and then looks compassionately at her victims, and many more. 14–22. Women plant bombs in cafes. The director received death threats from persons sympathetic to the French military view. Anibal Acosta, one of the ESMA cadets interviewed 35 years later by French journalist Marie-Monique Robin, described the session: They showed us that film to prepare us for a kind of war very different from the regular war we had entered the Navy School for. [21] It was selected to enter the list of the "100 Italian films to be saved". "The Battle of Algiers" is newly available in a restored print on a three-disc Criterion edition, including documentaries, and interviews with Pontecorvo, terrorism experts and film directors like Oliver Stone, Mira Nair, Steven Soderbergh and Spike Lee. "Why are the Sartres always born on the other side?" The strength of the film, I think, comes because it is both passionate and neutral, concerned with both sides.
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