Notes from Dr. Borkosky

Roger Ebert gave the film 4/4 stars, calling it "a great film" that "exists at this level of bitter reality. Precisely because the film represents more than one point of view, because it refers both to a specific war and yet speaks to other political situations, because it presents such a powerful documentary fiction, this fortuitous collaboration is able to sustain all these debates. Maybe more importantly, the film became crucially important for filmmakers committed to a revolutionary, ‘third cinema’ aesthetic, as well as to Western filmmakers invested in political cinema, from Costa Gavras, to Oliver Stone to Ken Loach. [13] There are very important parallels drawn between the leader of the FLN in the film Ben H’midi and colonel Mathieu which adds to Pontecorvo’s showing of the equal atrocities of both sides.

He introduced the movie approvingly and added a religiously oriented commentary to it.

Sound familiar? "The Battle of Algiers," a great film by the young Italian director Gillo Pontecorvo, exists at this level of bitter reality.

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. Bombs planted by civilians, often women and children, have served as deadly weapons in this war. [33] ESMA was later known as a center for the Argentine Dirty War and torture and abuse of insurgents and innocent civilians. When they start bombing public places in the European sector - cafés, restaurants, the Air France office - the authorities send in crack military units.

[2], The film concentrates mainly on revolutionary fighter Ali La Pointe during the years between 1954 and 1957, when guerrilla fighters of the FLN regrouped and expanded into the Casbah, the citadel of Algiers.

Filmmaking—being a form of art—follows the same guidelines and thus shapes society through its objectionable and often jarring subject matter. The reason they told him to shoot the cop instead of the informer is that, if he were a police stooge, the police wouldn't object to the murder of a civilian, but they wouldn't let an informer shoot a French policeman. The French have a plan. The scene in which three women transform themselves into Western-looking women and go off to plant bombs is particularly contested in this respect. 3, 2007a, pp.

As it is, unlike other films about the Algerian war, the film was never officially censored or banned in France. Filming on location in Algiers, using the real locations in the European quarter and the Casbah (which sheltered the FLN), he achieved such a convincing actuality that he found it necessary to issue a disclaimer: There is "not one foot" of documentary or newsreel footage in his two hours of film.

His chart of FLN cells has squares that are gradually filled in until, with the final defeat of Ali and three others, trapped in their hiding place, he declares victory. The moral paradox is that many Iraqis will blame the deaths on us, because if we were not there, the bombing would not have taken place. This is because the filmmaker is focused on conveying a number of ideas and themes to the audience.

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