A Batalha de Argel

Although most of Gillo Portecorvo's films are usually documentaries and in this fantastic one it is clearly reconstructed and with the grainy newsreel looks as if it is real. The two hours go fast and because the story is so well told that we watch the amazing streets and alleys and steps of the wretched white buildings and the Casbah. There is also the rather brutal French occupiers and their torture methods. The Italian style we know as neorealist and it works so well that we think that even of the thousands of people we can hardly imagine it was not really we have actual seen in the streets. It is all so terrible that we begin that maybe the bombings and shootings by the Muslims have our sympathies and we certain have the wonderful music of Morricone.

..who had lived through the real battle.

Director Pontecorvo and cinematographer Marcello Gatti are true geniuses who amazingly filmed the movie in black and white and experimented with various techniques to give the film the look of newsreel and documentary film and that too making it an engrossing n enlightening experience.

Although the rebels lost the Battle of Algiers, they won the Algerian War n their freedom from the French colonial regime.

This movie showed the impact of colonialism on daily lives.

The guy who played Ali is noteworthy, one of the rebel female has a sharp contour cheeks and the character lil Omar will always be remembered.

The torture of the rebel prisoners is the most poignant relevance to the recent ongoings worldwide.

The ironical aspect is that of the Colonel, who himself suffered torture by the Nazis in a concentration camp, now torturing common civilians to obtain information.

I ask myself why we never see these kind of movies on TV, instead of airing again and again the same old lethal weapons, jurassic parks, and other similar stuff? This is real cinema, this is why it is considered a form of art!

With the metaphysical crudeness of black and white, the dramatical facts of the Algerian rebellion against the French are accounted. The movie has the realistic appearance of a chronicle. And there are tons of intellectual honesty, too. I mean that there are no white hats VS black hats. You can see terrorists troubled as they are about to leave a bomb in a cafe. Policemen who struggle to save an arabian child from being killed by outraged crowd. Most of all, I like the frank words of Colonel Mathieu about the "bad methods" he's using during interrogations... Watch the movie and you will know.

In 1962 after more than 130 years of French colonial rule, Algeria became independent. Gillo Pontecorvo's `Algiers' shows the decade leading to that liberation in a powerful story about Muslims asserting their rights through violence, hiding, and plotting in the Kasbah, a demiworld of narrow, winding, seemingly endless alleys that are the only protection the rebels have from the eyes of the French. The re-release of the 1965 black and white film is a convincing story of a people who do not want to be occupied and will give their lives so their families can one day be free.

The story centers on a couple of Muslim leaders, the charismatic Col. of the French forces, and the bombings and shootouts that at one point averaged just over 4 per day. The film's sympathy is for the Muslims, but the Colonel has moments of reflection that could be sympathetic, especially with the revelation that he was a member of the resistance in WWII and may have suffered in a concentration camp. The director shows the influence of Italian neo-realists like Roberto Rossellini (`Paisan') by shooting in documentary style on location, using non-actors (except for the Colonel), and generally avoiding an agitprop angle.

But the film's sympathy in the end belongs to the occupied people. When 3 rebel women change appearance to look French, infiltrate, and plant bombs, the irony obvious to American audiences in their current struggle is a tribute to the strength of the narration and characterization and the universal dislike of occupation and subjugation.

The torture of the Muslim prisoners is the most poignant relevance to the recent scandal in Iraq. The Colonel's justification for the practice to gain life-saving information is classic `ends-justify-the-means' logic still being used by great nations. In fact, the Pentagon reportedly had seen this film during the first days of the second Iraq War; some say they learned nothing from the film, which is an unforgettable study of occupation and defeat.

As Algerian, I watched this movie 2 times a year for 20 years, this movie is a part of my story. It helped me to put imagines and sounds to stories I heard from my teachers, cousins, as my grand-parents and my parents still can't talk about that horrible war.

By now, as I'm growing old, I understand that this movie is not the 'Truth', it was 'war', and in a war even good people can do horrible things. And I know what I'm talking about as I was there, in Algeria, during the 'Dark Decennial', while we were fighting against our own people whom turned terrorists in the name of Islam.

So for those who will watch this film, please just remember not to judge any of the parties : Algerian /or/ French. It was a war and no war is nice, people die, and those who survive will suffer. Films/art are a form of exorcism for that pain we keep silently inside.

I like this movie, because I saw tears in the beautiful green eyes of my grand mother every time she watched it and it always gave her a good opportunity to cry for my grand father that she lost during the war. I saw my father crying for his father that he never knew, and saw him also being closer to his mom because.

For me, this movie will always be a 'Good movie to watch in Family'