Absolutely devastating. Morricone composes one of the most beautiful and atmospheric pieces of melodic music committed to film. The stark black and white imagery reveals the horrors, along with the actors, (most of whom were unprofessional actors) the atrocities in Algiers. This is all because of Pontecorvo's direction which is something to behold. A fresh, bold, original idea that is now a masterpiece of cinema!
The documentary style of filming is very reminiscent of Schindler's List. The influence this movie must have for filmmakers now and very well into the future is probably incalculable. Couldn't be more satisfied with this film, nor could the movie be made any better. It's just a perfect film.
Filmed in the same streets with the cooperation and re-enactments of many hundreds of locals and skilfully crafted in an Italian neorealist style that combines fiction with documentary elements. This most committed film resonates even more with the passing of each decade, opening up new complexities.
Stunning, a true modern epic. Feels like it could have been made today, thematically, which is very depressing. The best film to compare it to, in terms of scope, accomplishment, and evoking the grim logic of resistance is Army of Shadows. The two form a symmetry – Army is about Frenchmen fighting for freedom from German fascist occupiers, and Battle is about Arabs fighting for freedom from French fascist occupiers.
a 6-star film. this film show how to make film about a social struggle. this film reflects only truths. No disinformation, no glorification of the war, there is just only struggle. With come and see(klimov), the battle of algiers is most important 'war' film.
With its crew of non-professional actors, a mostly non-professional troupe, ruled by that "dictatorship of truth" that encompasses both the necessity of realistic documentation and the philosophical representation of the independence struggle, this film proves capable of portraying the birth of a nation at the same time as providing a lucid critique of colonialism and of any form of political and social oppression.
This is just one of those films that open-palms you in the throat and leaves you gasping for air, then kicks your perceptions while they're in the fetal position on the ground recovering. Viscerally and politically audacious with a firm, opinionated, but worldly view of the human condition. That it is iconoclastic precisely because it doesn't pander is equally bold and frightening.
A perfect fusion of political persuasion, and artistic form. Creating not only a forceful historical document, but also a timeless story of the cruelty of humans to impose their will on others, and the inevitable resistance faced. This is not propaganda though. Terrorism is still terrorism even if it is committed by the oppressed as clear demarcations of good and evil are blurred by senseless violence.
Having watched this back-to-back with "Zero Dark Thirty", Pontecorvo's fierce opus from 46 years earlier proved to be more prophetic, even-handed and relevant than Bigelow's hollow award winner. Col. Mathieu's incisive and slippery lines still resonate loudly today.