¡A mí la Legión!

I almost felt sorry for the actors who took part in this piece of *beep*. Especially Alfredo Mayo, whom I like regardless of his political sympathies.

I tried not to see it just as a plain piece of Franco's propaganda but a sort of Spanish decaffeinated version of Beau Geste, an adventure movie to kill an hour and a half. But it was impossible.

We can excuse the low technical quality -Spain's film industry was struggling to survive after the Civil War and film stocks were heavily rationed-, but the acting is so bad and clichéd that it looks like they were playing just for the laughs.

But the most pathetic thing of all is to read someone's review - and he isn't even a Spaniard and probably knows nothing about Spanish history- to praise this pile of trash as "a classic gem"...

You should be minding your own country's business instead, you Nazi gringo!

This movie wants to be a reflection of the heroism that people(Willingly or not)had to have in those turbulent times in order to survive. Its message praises values such as Honor,Gentlemanly, Boldness, commitment and compassion. All of these ingredients Making this film not quite popular in nowadays Spain; a country currently drifting away from the principles that made it Great in the past. I won't enter to discuss its technical quality in comparison with lavish Hollywood productions of the time. We are talking about a product made with a considerable effort in a country smashed by a civil war between Communists an Nationalists which had ended just three years before, leaving a million of dead and a whole nation in ruins. After that, the government was put in to an effort to spread positive values in films like this.

Watch this movie if you ever have the chance; You won't regret it!.

This is one of several films made after the Spanish Civil War had ended (April 1st. 1939) and General Franco had started a military regime that would last until the 70s. After the war and the exile of republicans (popularly known as "reds" for their ideological connection to communism) and with the deposed monarchy long in exile, Franco's regime restored the Church properties and power that the Spanish Republica had taken away. As for the Military branch, it also became empowered. Those who had not left the country and had fought in the looser's side had to undergo a rehabilitation process that implied amongst other things repeating the mandatory military service. Franco's view of Spain imposed a centralistic, politically and culturally unionistic, strongly catholic and homogeneous model with expansionist and colonial ambitions, opposite to that of the Republic. This was stated as "España, una, grande y libre" - Spain one, great and free.

Post-war Spanish cinema consisted mainly on four main trends : Historical films praising Spain's past grandeur, military and some religious ones spreading the Regime's values, folkloric musicals and light comedies influenced by American carefree-style movies.

As for Africa territories, they were regarded as a Spanish colony which had to be both supervised and defended from independence attempts, while the Gibraltar frontier had been closed (Franco had seen Cuban independence and had taken part in the African war himself). The Foreign Legion played its part warding the border and fighting bereber rebels. Men wanting to leave the country for various reasons and with obscure pasts often enlisted. Both "¡Harka!" (1941) and "¡A mí la Legión!" (1942)show the government's point of view on the Army and the African war. The Spanish officers are shown in both a directive and paternal way, caring for their men and the loyal Africans who serve them and strongly relying on their comrades for both security and leisure. Obbeyance without questioning gives them a strong sense of belonging that even overcomes their private lives requirements, including self-sacrifice if necessary.

Both Alfredo Mayo and Luís Peña were popular leading men at the time. They often played military roles, as well as light comedies. Alfredo Mayo had participated in the Civil War in the National side, so was seen as highly suitable for these kind of roles. Luís Peña had played a falangist in "Porque te vi llorar" the previous year. They had together made "¡Harka!", connected in many ways to "¡A mí la Legión!". Manuel Luna plays the commander in Africa with his usual consistence. The only feminine role (Pilar Soler) is nothing more than an excuse, and women are seen as the cause for our heroes having entered the Legion. Loyalty to both comrades, the Army and ultimately Spain provides for plenty of heroic gestures. The movie ends with a rather awkward sequence going back to the Civil War that can be easily seen as a justification attempt while "the fight is still on".

Passable war movie set pre-during Spanish Civil War full of action , drama , thrills , patriotism , spectacular battles and a little bit of humor . A jinjoist picture , concerning about Spanish Legion , and the triumphs of the Nationalist forces against Republicans , blending real deeds , fiction , as well as documentary in some battle scenes . In North Africa , in a detachment of the Legion , the 4th Flag , 11 company , El Grajo or 'the Rook' (Alfredo Mayo), the most brave legionnaire , befriends Mauro (Luis Peña) . Mauro , from whom only the name is known , gives the impression of hiding some dark secrets . One day , when the two friends celebrate a noisy meeting , at a saloon occurs some brawls that lead to the death of a man . The suspects fall on Mauro , who is put on criminal court and condemned to death by firing squad . Meanwhile , El Grajo will start investigating the happenings on his own . The second part deals with a fictitious country called Eslonia (a similar nation to ¨Duck soup's Freedonia¨) where our two friends meet again . At the end takes place the confrontation between Republic and Francous forces , and Legion getting essential objectives to avoid advance of the Republican forces . As Spanish Republican forces fight against the better-equipped Francoist armies in several battles until its final defeat .

Propaganda film about adventures and misfortunes carried out by two valiant soldiers , it is packed with strong ideological charge and it was one of the more successful pictures by that time : Franco's regime . It contains breathtaking warlike set-pieces , comradeship , touches of brief humor and an almost homosexual friendship . In the movie there are several shouts and Hurras¡ , praising Spanish institutions : Viva La Legion ¡ , Viva España¡ ...Alfredo Mayo gives an acceptable acting as the courageous soldier nicknamed ¨The Rook¨ , Mayo was considered to be the greatest star of the 40s interpreting similar hits as ¨Harka¨ and the famous ¨Raza¨ by José Luis Saenz De Heredia . Grajo/Alfredo Mayo becomes close friend to Mauro/Luis Peña , both of them have just joined to take on unfortunate circumstances . This is a fiction movie , adding some stock-footage , being written by also filmmaker Luis Lucia and actor Raul Cancio , but in old style , boasting the Spanish past grandeur , being professionally directed by Juan De Orduña y Fernández-Shaw , though it has a lot of flaws and gaps . Orduña debuted on camera in 1924 with "The House of Troy¨, and forming his own company shortly thereafter . As after shooting the successful ¨Nobleza Baturra" (1935), starring Imperio Argentina which Florian Rey directed , and they founded ¨Goya Films distributing company¨ , producing this military epic "¡A mí la Legión!" and other historical films along with the biggest production company of Franco period : CIFESA . It packs an atmospheric cinematography by the prestigious Alfredo Fraile , shot on location in Tetuan , Protectorado of Morocco , Spanish colony in Morocco. In fact , producers thanks to military authorities of Moracco Protectorado . Evocative score by Juan Quintero with great number of Legion songs , such as : Himno De Los Legionarios and Marcial hymn by Soler and Cales as Novio De La Muerte , Canción Del Legionario by Guillén y Romero and hymn De Academia De Infantería by Cueva and Díaz-Giles

The motion picture was professional though regularly made by Juan De Orduña in patriotic style , it is highly favored by that nationalist time of the forties . Orduña was born in Madrid in 1900 and died in 1974, aristocratic origin , while attending college , and theatergoers will soon begin to combine classroom with theatre . Longtime affection for acting while still attending college , turning into a notorious juvenile stage actor . During his early days , he played Zarzuelas and stage performances . He debuted on silent films in 1924, and in 1925 he was cast in "La Casa De La Troya" , then in silent version "Boy" , and started his own company . In 1928 he both starred in and directed "Una Aventura De Cine", and from then on he would progressively concentrate on shooting . He also starred in "El Misterio De La Puerta del Sol" (1929), the first Spanish sound picture . During the 30s and specially after the Spanish Civil War he became one of the most famed and favored Spanish directors . With fellow director Florián Rey he collaborated as lead actor in the sentimental drama "El Frente De Los Suspiros" (1942) . Later on , he specialized in comedies ("Tuvo La Culpa Adán", "Ella, El y Sus Millones" both from 1944), and filmed one of the best Spanish costume dramas ("Pequeñeces", 1950) and epic/religious movies ("Agustina De Aragón" 1950, "Alba De América" 1951 , ¨Locura De Amor¨, ¨Leona De Castilla¨ , ¨Teresa De Jesús¨). Juan adapted to cinema known novels such as : ¨Zalacaín El Aventurero¨ , ¨Cañas Y Barro¨ , ¨Lola Se Va a Los Huertos¨ , being especially known for his historical renditions . He was also responsible for "El Ultimo Cuplé" (1957), a reinvention of popular musicals which was a huge hit for Sara Montiel and subsequently made a lot of Zarzuelas for TV as ¨El Huésped Del Sevillano¨ , ¨La Revoltosa¨ , ¨Bohemios¨ , ¨La Canción Del Olvido¨ , ¨Maruxa¨ and ¨El Caserio¨ . He finished his long career with two vehicles for Lina Morgan : ¨La Tonta Del Bote¨ and Manolo Escobar : ¨Me Has Hecho Perder El Juicio¨ .

Even though it isn't a Hollywood production this movie really can capture the spirit of the time. The reason it had a low grading here is because it isn't politically popular anymore in Spain. And outside of Spain it is hardly known.

The attempt made by peers of Franco to instill a sense of brotherhood, courage and pride in the Spanish people is what makes this movie so valuable. It's very rare at this moment in time to find a movie which expresses these sentiments anymore in a selfless way. BRAVO! To the makers of this movie and to the individual guts of the viewers who takes the time to watch this movie.

If you get the chance to see this movie, see it. Don't be bothered by the low cost production or dodgy acting. The spirit of this movie is truly unique!!!