Il ponte

Made in 1959, "The Bridge" is one of the few films from the former West Germany that squarely faces the theme of Nazi defeat. It is a courageous work where content is all important, so much so that it hardly matters that the direction is rather limp and pedestrian and the acting somewhat less than impressive. It is an elegy to lost youth concluding with a caption that vents such anger through the irony of understatement that it earns without question a rightful place among the most seriously committed of anti-war films. The setting is an unspecified small town in Germany where to begin with, apart from a bomb dropped in the river and conversations about hardship and shortages, the war seems far more than a distant rumble away. We follow a group of seven 15 year old boys at school and play until the time when the rapidly approaching American front necessitates their call up and hasty military training. As the military front creeps ever closer they are given the role of defending a bridge over a river, the wisdom of which is seriously questioned by several of their superior offices but which they eagerly take on in the spirit of boyhood heroism combined with what one can well imagine to be the ideology instilled into them by past experience of the Hitler Youth. The terrible last half hour in which their baptism by fire is recorded in graphic detail through the stages of excitement, terror and death is gruelling to watch, the more so because the youth of the sufferers generates so much anger at such waste and loss. I would not for one moment claim the "The Bridge" is in the same league as Kubrick's "Paths of Glory", Helma Sanders-Brahms's "Germany, Pale Mother" or Klimov's "Come and See" - Bernhard Wicki is a lesser director who never quite succeeds in making each of the seven protagonists a memorable character - but nevertheless he manages convincingly to flesh out in dramatic form the terrible reality behind that awesome newsreel footage of Hitler encouraging boy troops amid the rubble of Berlin. "The Bridge" brings home more than most films the madness of it all.

German war drama from Deutsche Film Hansa and director Bernhard Wicki. In the waning days of WW2, a group of German high school friends all get drafted into the army, much to their excitement. However, with literally only a single day's worth of training, they are sent to their hometown to guard a small bridge until it can be destroyed by a demolition crew. The young men take their task very seriously, leading to tragic results

The 100 minutes film spends the first hour establishing the characters of each of the young men, so that the frenetic last act becomes even more devastating, as these are fully fleshed out individuals instead of the too-frequent ciphers and cliches found in many war films. The tone is distinctly anti-war, but the movie is never preachy, and the futility of their actions is made apparent naturally, without contrivance. The filmmaking in the final stretch of the film is ahead of its time in the use of rapid edits, traveling camera shots, and zooms. The movie was nominated for the Best Foreign Language Film Oscar (it lost to Black Orpheus). Recommended.

When I saw in news accounts the lovely yet fearful face of a 16 year-old, who had defected from the Taliban during the campaign against terrorists in Afghanistan, in the aftermath of the 9/11, I was taken back to Bernhard Wicki's Die Brücke (The Bridge), to the faces of young German boys who were recruited by the Nazis to defend a "last" bridgehead, in the final days of World War II in Europe. In both cases, young "true believers" were used as cannon fodder by cynical adults in their futile power games, which they had disguised as moral crusades.

A tiny band of boys, holding weapons as big as they, their bodies and faces still soft and fresh and tight, facing the juggernaut of tanks and artillery and machine guns which we know will soon tear them to pieces. And for what? An ideal?

I suspect that The Bridge was the basis for the Timothy Hutton, Sean Penn vehicle, "Taps". However, The Bridge is the starker and more brutal treatment because, unlike the what-if story of Taps, the what-if does not apply to The Bridge. In fact, throughout history, the use of children in furtherance of warfare has a sickening frequency, the earliest I know of being the Children's Crusade, and now we have the Tamil Tigers (little girls with lockets of cyanide vials) and Palestinian boy bombs.

The Bridge deserves to be revived and shown to as wide an audience as possible in this Dastardly New World we live in.

In my opinion is the best war film I've ever seen. The story is one o the best examples of the nonsense and madness of war. Seems incredible that this movie has been done by Germany and released after 14 years since the end of the war. You can see a traumatic passage from childhood to maturity in the principal characters. The film is from the late fifties so there is no big special effects like "saving private Ryan". Also, the movie is not showing a major and historical battle, with a lot of soldiers and tanks fighting between explosions. In fact,the war scenes can be seen only in the last half hour. The final scene on the bridge is one of the most disturbing scenes of war films.

A group of young students are ordered to protect a strategically totally unimportant bridge at the end of the war. The initial euphoria changes suddenly to fright while the Allies are entering. Probably one of the essential and most important anti-war films ever. Wicki convincingly captured the atmosphere of the last war days, this constant indecision between fear and hope and forlornness. Especially well made are the psychological portrays of the boys, their every day life in school, at home, within the clique and the mixture of real dedication and adventure mentality which leaves them to look at the war partly as national duty and partly as a romantic game. But as soon as the war collides with the life of the boys, the contrast between those close-ups of round-eyed, innocent child's faces and the churned up mud of the battlefield, as well as the bookish discourses of "courage" and "cowardice" makes the absurdity of the war pretty damn clear. Indeed, war is a game, but harrowing, arousing and bitter which has lost all gaily playfulness.