Tête de pont pour 8 implacables

I like to watch at least one film from the '40s, '50s or '60s of a weekend, and by preference a war film. Often, it will be one I remember watching many years ago on TV, so there's a kind of nostalgic added-value.

Sometimes I can't find one I remember watching, or have even heard of, so I cast around to find something to fulfill this craving. This weekend's search produced this one.

It's ... OK. It's not good enough to have engaged me fully, nor leave a lasting impression, but not bad enough to give up watching once I'd started.

My feelings may be somewhat marred by the version I got hold of being dubbed. I'm not a fan of that, prefering instead to hear 'natural' voices and read subtitles. Actually, though, that was one thing that scored quite highly for me. The dubbing was pretty good, so I didn't spend much of the time being distracted by lips moving completely out of sync with what was being said.

On the whole, though, I wish I'd chosen something else.

The enjoyably frantic 'Hell in Normandy' is a boisterously fun Italo-French WW2 actioner from infamous exploitation director Alfonso Brescia. While clearly under-budgeted, he effectively utilizes some authentic looking locations, and is blessed with a cracking cast, namely B-cult heroes Guy Madison, Peter Lee Lawrence and the positively incandescent heavenly body Erika Blanc! While Brescia is, perhaps, better known for unleashing his torrid grindhouse duo of 'The Beast in Space' and Sci-schlock disasterpiece 'Star Odyssey' on a wholly unprepared world, happily, Brescia also proves himself a capable B-Action filmmaker, jollying things along at a bracing pace, ably constructing some terse interludes, plus orchestrating a rowdy number of bullet-shredded exchanges as the daring squad's Gung-ho 'Suicide Mission' comes to a satisfyingly explosive climax! 'Hell in Normandy' is a rumbustious, hell-for-leather, switch the brain off for 90 minutes WW2 yarn that gives the luminous, flame-haired Euro-starlet Erika Blanc a chance to shine as heroic resistance fighter Denise.

A bunker on Omaha beach presents a serious problem for the planning of D-day, and a few daredevil agents are sent out to investigate it to prepare for its demolition. Some paratroopers are sent in time for D-day to accomplish the operation, when D-day is postponed one day, while the paratroopers already have jumped and are lost behind German lines without support. Naturally, they go ahead with the operation anyway, led by Guy Madison in German officer's uniform, who is very elefgant in it. The film is full of action, there is nothing wrong with the excitement and suspense, but the direction seems a bit unprofessional at times. You have to remember that this is an Italian version of the D-day hullabaloo, you could call the film "D-day Italian style", and naturally the Germans are as wicked and naughty as ever, real monsters, with one notable exception. The film is perhaps enough for an evening's entertainment but blows over like so many other ordinary war action reels without leaving anything behind except perhaps a relief that it's over.

The king of average, mediocre Italian action movies, Alfonso Brescia, does his best work in this action-packed, anti-war commando story, released in 1967. "Hell in Normandy" may not be the best of a slew of Italian "commando" movies, but it's somewhere near the top of the pile, simply because Brescia manages to pack so much into a 90-minute running time.

American commandos, led by Captain Murphy (Guy Madison), parachute into occupied Normandy, where Lt. Strobel (Peter Lee Lawrence), a German spy, helps them penetrate a flamethrower installations which threatens the landings on Omaha Beach. Murphy is skeptical of his mission's practicality, but Strobel is fanatically dedicated to destroying the base, and the two butt heads several times before the film's bullet-ridden climax.

This was an Italian-French co-production, and was quite possibly shot in France – this is noticeable in the first few shots. For once, an Italian war films opens with the landscape actually looking like the country it represents. I can't count the times I've seen semi-arid climates and rock quarries passed off for "southern France", so Brescia's choice of shooting locations earns him major points in my book. The movie looks just as real throughout – uniforms, weapons, vehicles and sets all look very authentic. Many Italian directors, such as Leon Klimovsky and Umberto Lenzi, disregarded accuracy in favor of action, and that damaged their credibility. Here, one can respect the time and money Brescia puts into making his film look credible.

This was Guy Madison's first Italian war movie, and he hasn't grown comfortable yet in a part which he would eventually own in the genre – he's starred in several similarly-themed films, each helmed by a different director. Man, does this guy get around! That said, he seems a bit unsure of himself as Captain Murphy, quite possibly because the role has its limitations. Murphy is cynical and critical of the way his mission was planned by superiors and how he's been ordered to execute it, but that's about all he gets to say – and he says it so many times that his dialog gets old and worn out very fast.

In direct contrast, Peter Lee Lawrence seems to be enjoying himself as Lt. Strobel, and has plenty of good dialog as well as some physically active scenes to be involved in. From the moment we meet him, Strobel is obsessed with the success of his mission, even if it means killing anyone who gets in his way. But he also has a tender side, demonstrated in his love for the French partisan girl Denise (Erika Blanc), a relationship which never gets the full development it deserves.

Brescia then loads his supporting cast with familiar names and faces, most notably, Max Tarilli ("Hornet's Nest"), an always under-used and under-appreciated actor. Here, Tarilli is a vicious German Corporal who is hot on the trail of Murphy's commandos, and never ceases in his search. It's refreshing to see what talent Tarilli has, and he never appears less than fully convincing as the vicious-Nazi-type. Massimo Carocci, Pierre Richard, Giuseppe Castellano, Luciano Catenacci, Gianni Pulone, and Giovanni Ivan Scratuglia all have small parts, too, which give a necessary boost.

When stacked up against similar films, such as "Where Eagles Dare", "Attack and Retreat" or "Tobruk", this little action story doesn't hold up as well. But Brescia takes his craft seriously, and earnestly tries to make everything look and sound as good as possible given the circumstances. "Hell in Normandy" is a well-meaning war film with a good premise and enough good acting, suspense and violent action to keep it entertaining, even if it is all clichéd.

SGT. SLAUGHTER'S RATING: 3 Bullets

It's a spaghetti World War II film rife with all of the elements of a spaghetti World War II film. I was just wondering if every World War II motion picture produced in Italy in the late 1960s was required to feature a female in the movie and on the poster to make people go see it. I also have to wonder if the cast ad-libbed the script all the way through it. Okay, never mind the last one. No one would ever use the kinds of lines that are used in these films, except the writers, obviously, at least until they graduated from high school.

Most of the outdoor shots were too dark to see what was going on. It's also pretty amazing that the people firing the machine guns were able to hit anything with the way the would wildly wave them back and forth while firing. Of course the Germans could rarely hit anyone as usual, so I guess there's that.