Commando suicida

This Italian-Spanish co-production is a war movie about a top-secret Allied mission to destroy an airport deep behind German lines. In order to carry out the exercise the military gather together a motley band of misfit soldiers.

This movie is one of many Macaroni Combat films which tapped into the basic premise of the Hollywood smash hit The Dirty Dozen (1967). It almost feels to me that at least 50% of Italian World War 2 flicks seem to use this same basic template. I have now seen so many of them that I have to admit my patience has been worn a bit thin, with this one being a step too far and somewhat of a chore to sit through. Nothing happens here that makes it stand out from the others except maybe for the ludicrous idea of a boy scout leader being recruited for a special forces mission! Needless to say, things pan out as they always do in these kinds of flicks. This one stars the diminutive tache-sporter Tano Cimarosa who appeared in a few notable flicks from the period, such as Renato Polselli's demented giallo Delirium (1972). You'd be better off watching that sex and violence fest that this tiresome war movie I would say.

Here we have yet another Italian/Spanish World War II film, concerning an "impossible mission" taken on by misfit soldiers. How many times did the Italians make this type of WW2 movie in the 1960s and 1970s? There's DIRTY HEROES, BATTLE OF THE COMMANDOS, FIVE FOR HELL, COMMANDOS, LAST DAY OF THE WAR . . . this one of the better ones, although it's in no way a classic.

The plot: The Germans have built a secret airfield which threatens the D-Day invasion. Flak in the area is so heavy that Allied planes can't get through the bomb the airfield. So High Command calls in French commando Sgt. Cloadec (Aldo Ray!!!, in the same type of role he had in GREEN BERETS) to take on the impossible task of leading 4 misfit commandos behind enemy lines to destroy the airfield. The mission takes on various twists and turns until the climax.

Unfortunately we never get to see too many enemy soldiers pursuing the good guys. The lack of extras is only one piece of evidence which suggests the low budget. Besides Aldo Ray, the producers couldn't hire any other easily recognizable actors for the movie. The special effects are the worst I have ever seen. They usually involve burning model plastic aircraft. And I am not kidding; the closeups are just as bad as the awful effects in BRIDGE TO HELL. The heroic "Colonel Bogey-esqe" musical score is rousing at first but soon goes into monotony. But we do finally get to see some action and a little bit (a very little bit) of originality and some good acting. The cinematography is quite decent; the movie was filmed out in the woods some place, for the most part, but resembles France pretty accurately for once. Most Italian war movies are set in France or Germanty, but look like they were filmed in -- well -- Italy or Spain.

Overall, the movie is entertaining but really lacks originality and is also undeniably cheap. But, it's well paced, solidly directed and contains some good characters.

5 out of 10 stars.

WW2 action movie about a commando raid in Europe prior to to d day. I'm not sure if it is supposed to be comical or it just appears that way, low budget Lack of script little plot over acting dubbed English with heavy accents terrible film editing with the obvious use of other film material being used in parts and Aldo ray as Frenchman.

SUICIDE COMMANDOS is a very matter-of-fact Italian WW2 movie and yet another of their men-on-a-mission story lines. This time around, an elite British commando squad are tasked with parachuting into Germany to destroy an airfield that's been used to laugh a massive air attack against Allied positions. The odds are stacked against them, so will they win out against their overwhelming enemy?

Despite the inherently exciting premise this is quite ordinary stuff, made with a modicum of excitement extracted from the very familiar scenario. The big name star here is Aldo Ray, an American actor who made a career out of war movies. The low budget of the production is apparent from the relative small scale of the shoot-outs and attacks, but there's plenty of melodrama along the way as various members of the group are injured and sacrifice themselves for the greater good. Director Camillo Bazzoni is an unknown quantity, having only directed four features during his long career (a war film, a western, and two crimes).

"Commando suicida" emerges as a gripping cinematic narrative set against the backdrop of World War II, plunging viewers into the heart of a high-stakes commando mission fraught with danger and uncertainty. Directed by Camillo Bazzoni, this Italian-Spanish co-production unfolds with a blend of gritty realism and pulse-pounding action, offering a window into the tumultuous landscape of wartime Europe.

At the helm of the narrative is Sergeant Derrick Cloadec, portrayed with stoic resolve by Aldo Ray, who leads a disparate band of soldiers on a daring mission deep behind enemy lines. Assembling a motley crew of misfits, each bearing their own scars and demons, Cloadec must navigate treacherous terrain and deadly opposition to achieve their objective: the destruction of a critical German air base that threatens Allied forces.

Despite its modest budget and technical limitations, "Commando suicida" manages to capture the essence of wartime drama with remarkable authenticity and intensity. From the tension-filled moments of infiltration to the adrenaline-pumping showdowns on the battlefield, Bazzoni crafts a narrative that crackles with urgency and suspense, drawing viewers into the heart of the action with immersive cinematography and evocative sound design.

While the film's special effects may betray its low-budget origins, particularly in its depiction of explosive action sequences, the raw emotion and human drama at its core elevate it beyond mere spectacle. As the soldiers grapple with fear, doubt, and moral ambiguity, their struggles resonate on a deeply human level, reminding audiences of the true cost of war and the sacrifices made in its name.

"Commando suicida" showcases a cinematographic approach that effectively captures the intensity and atmosphere of World War II. Director Camillo Bazzoni employs a visual style that immerses viewers in the gritty realism of the battlefield, utilizing a combination of handheld camerawork, dynamic framing, and evocative lighting to heighten the sense of tension and urgency.

Throughout the film, Bazzoni employs a mix of wide shots and close-ups to convey both the vast scale of the conflict and the intimate struggles of the characters. Wide shots are often utilized during action sequences to showcase the chaos of battle, while close-ups focus on the expressions of the soldiers, capturing their fear, determination, and camaraderie in the face of danger.

The use of lighting is particularly effective in setting the mood and tone of the film. Scenes set in the darkness of night are bathed in shadow and chiaroscuro, creating a sense of foreboding and uncertainty. Conversely, daylight scenes are often saturated with harsh sunlight, enhancing the harshness and brutality of war.

Bazzoni also employs dynamic camera movements to enhance the sense of movement and action in the film. Tracking shots follow the soldiers as they navigate treacherous terrain, while handheld camerawork adds a sense of immediacy and realism to the combat sequences.

In terms of composition, Bazzoni utilizes the landscape to great effect, framing shots against the backdrop of war-torn Europe to emphasize the devastation and chaos of the conflict. Ruined buildings, barren landscapes, and desolate battlefields serve as powerful visual metaphors for the destruction wrought by war.

Furthermore, it's a film with a few nods to the style of spaghetti westerns, which were popular during the years of this production, and a couple of winks to comedies with smart yet funny dialogues, carefully measured so that the overall tone doesn't become overly comedic.