Baionetas de Aço

The film belongs to a moment in British war cinema when the industry was moving away from purely triumphalist narratives and leaning into more contained, character-driven pieces. This was the late-1950s climate of restrained budgets and postwar fatigue, a time when the country was still reckoning with its diminishing imperial role, especially in the wake of the Suez Crisis. In that sense, the movie's focus on a small British detachment holding a position in hostile territory fits perfectly into the mood of the era-less about sweeping victory, more about endurance, discipline, and the quiet assertion of resolve under pressure.

From a purely visual standpoint, the movie is an interesting hybrid. It mostly succeeds in maintaining the illusion of North Africa, despite having been shot on the moorlands around Aldershot, a site long associated with British Army training exercises. The filmmakers deploy smoke screens, obstructions in the foreground, and careful angling to conceal the unconvincing stretches of English countryside. High-angle shots often use terrain features to hide the background, while interiors-tents, dugouts-play to the film's strengths. Still, when the camera lingers too long on unobstructed exteriors, the illusion falters. It's not impossible to imagine parts of Tunisia looking like this, but the resemblance is just close enough to pass at a glance rather than convince with depth.

The strongest element lies in its theatricalized narrative framing. Much of the dialogue unfolds in tight close-ups or in contained spaces, and here the movie excels. The exchanges are taut, the rhythm of speech clipped and military, but with just enough human undertone to keep it from becoming mechanical. This intimacy works like a well-blocked stage play, where positioning, expression, and tone do the heavy lifting. The audience becomes absorbed in the mental and emotional state of the British side, almost to the exclusion of anything else. In those moments, the production feels assured, confident, and precise.

However, when the scope widens to include broader action-movements of larger groups, exchanges of fire, or sequences involving explosions-the limitations become apparent. The staging of enemy casualties is a notable weak point: German soldiers sometimes drop as if caught off guard during a casual stroll, their falls lacking both weight and urgency. This robs certain combat moments of their intended impact. It's a detail that could have been improved without a dramatic budget increase, simply through better coordination of extras and more attention to physical performance. But such sequences require a particular kind of cinematic discipline-one that blends technical choreography, special effects timing, and spatial coherence-and not every mid-tier production of the time could marshal these resources effectively.

Comparisons to Zulu (1964) are instructive, even if that film is not set in the Second World War. Both works hinge on the drama of a small, disciplined force holding off a numerically superior enemy. In Zulu, the tension comes not only from the performers' dialogue and interplay but also from meticulously staged group movements and combat beats that sustain believability under pressure. In the 1957 film, the dramatic interplay is handled with similar care, but the larger-scale tactical moments lack that same tightness, leaving a noticeable gap between the human drama and the spectacle.

The result is a movie that thrives when it behaves like chamber drama-where the geography is tight, the focus is human, and the budgetary constraints actually become part of the aesthetic-but loses some of its grip when it ventures into more expansive action territory. It remains an effective portrayal of British fortitude in microcosm, but one where the illusion of battle sometimes feels more like a sketch than a fully painted canvas.

Leo Genn does an admirable job of holding this film together with the British version of Bataan. It is a film where a unit draws the short straw, and must face the wrath of the German forces which greatly outnumber them, so the Allies can make a concentrated offensive for Tunis. This battle allowed that advance. Tunis was a turning point in the African campaign, and marked the end of the dominance of the Desert Fox, Rommel, the desert genius general of the German Army.

The unlikely unit contains characters that, at first glance, appear as if they could not defend their apartments back in London, much less the flank of the Allied attack. However, looks can be deceiving. These men were as gritty as they came, and did a spectacular job under the circumstances. In a way, the film reminded me of Zulu, when a small group of Army engineers held off superior numbers of Zulu warriors. One of the better British war films.

A company of the British Army is ordered to hold off the entire German army in North Africa while Raymond Francis -- called "The General" int he movie, but presumably intended to be Montgomery -- can get the rest of the British Army off their.... well, moving.

With explosions aplenty, what's most interesting about this Hammer film is how it tries, mostly successfully, to maintain the illusion of it taking place in North Africa, while being shot in the moorlands around Aldershot, where the British Army did a lot of training. There's smoke to obscure what's going on in the background. The camera shoots the players mostly in close-ups, or inside of tents, or occasionally at a high enough angle that obstructions hide the background. The clear shots show a very English-looking countryside, but it's not beyond the realm of possibility that there are place that look like that in Tunisia.

I don't believe that the average movie-goer would have noticed those things. It's a pretty good, if generic, war flick.

This is a film of that kind which I consider the very best kind of films, a true story told straight without sentimentality or embellishments, without any glorifying romantic ruffle, of plain men of very human calibre, and no hesitation in telling the uncompromising truth. A small band of British soldiers are selected to halt a German advance in Tunisia, and the chances are that no one will survive. Yet the operation was successful, the German army was detained for three hours giving the allies time to get there for the conquest of Tunis and opening the way to Europe. Leo Genn as Majos Gerard makes one of his many memorable characters of high integrity and manages the mission perfectly, as far as it goes.

I saw this film at the cinema in 1963 - it was still doing the rounds since it was first released in 1957. Many young people, at the time, had an abiding interest in films about the Second World War.

What struck me most about the film was its realism, and how well acted it was - Leo Genn has always been a fine actor, especially when playing Military Officers. He, himself, was a Lieutenant Colonel in the Royal Artillery during the Second World War and was awarded the Croix de Guerre.

The realism came in the form of the worthy absence of propaganda and social comment, and there were no staged heroics, nor poignant moments, that are sometimes designed the make the actors look good.

I think the film was shown as a second feature and had a 'A' certificate - which would have been equivalent to a 'PG' today.

The British Film Industry is always something I have been interested in, and I like to watch some films two or three times, but I have never seen this film again since I first saw it at the cinema. It has never been released on DVD, and I am surprised that it has never become a classic and that I have never seen it shown on television.