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  • Warning: Spoilers
    The Italians don't have a problem making fun of serious things. Roberto Benigni got the whole world laughing with a Holocaust movie. Lina Wertmüller satirized man's will to survive in her WWII dark comedy, Pasqualino Settebelezze. Mario Monicelli's La Grande Guerra, perhaps the grandfather of such movies, aims its satire at World War I.

    The movie follows Giovanni Busacca and Oreste Jacovacci, two comical anti-heroes who are drafted and spend most of the time trying to find ways to stay out of the front or acquire some rare comforts amidst the war. The movie is mostly plot less and instead emphasizes amusing episodic situations. This gives the movie maximum freedom to explore as many situations as the imagination of the screenwriters allowed.

    However this movie never stoops to frivolity. Amidst the horrors of war, there's a strong criticism of war in general and also of the way the soldiers are treated by their own country. Monicelli's camera shows the squalor of the trenches, the hunger, the worn boots and uniforms. The battles are bloody, chaotic situations; when it shows Giovanni and Oreste watching a bombardment in the distance, we share with them the relief we're somewhere else. We rejoice when they think their way out of a dangerous situation and commiserate with them over fallen friends.

    And like the best war movies, La Grande Guerra manages to show the best of mankind. Comradeship, selflessness, courage, loyalty are in display here.

    La Grande Guerra is over 50 years and yet remains an impressive experience. Modern movies can be technically more authentic, have better sfx, better make-up, have better sound mixing, etc., but $100 millions of budget won't buy them the emotional core of this forgotten movie.
  • Winner of the Golden Lion at the Venice Film Festival in 1959, this film deserves more attention from movie lovers all around the world. Some critics regard "The Great War" as Monicelli's finest work - and they might be right. Set in Northern Italy during World War I, of course the film is definitely antiwar. As Monicelli once said in an interview : "I wanted to show things as they were -- as usual, badly conducted and led, and no one wanting to fight, or knowing what they were fighting for." It is history from the point of view of the humble people, with a good deal of irony. Starting as a light comedy, "The Great War" ends on a very poignant note, while it doesn't hide any of the horrors of trench warfare.

    To me, Mario Monicelli and Dino Risi were the masters of Italian (tragi)comedy back in the 50s and 60s. Their best films (like this one) offer a combination of levity, social criticism and black comedy which is extremely appealing and unique. That said, Monicelli and Risi would never have done such great films without great actors. Here, Gassman and Sordi are a wonderful pair as two army mates caught in a conflict they don't really care about. The film also features beauty queen Silvana Mangano in a small but important part as Gassman's love interest.

    A classic, unmissable.
  • When I attended the 61st Venice Film Festival in September 2004, I saw Italian veteran film-maker Mario Monicelli several times taking a stroll by himself but, given his reputation for cantankerousness and irascibility, I thought better not to bother him; you can imagine how guilty I felt when the 95-year old frail director committed suicide by jumping out of a Roman hospital window in November 2010! Monicelli, who does not get a single mention in the "Wonders In The Dark" 3000-strong list(!), belongs with other notable Italian film directors like Pietro Germi, Elio Petri, Dino Risi, and Ettore Scola whose work had long been unjustly overshadowed by the big five, namely Antonioni, De Sica, Fellini, Rossellini and Visconti.

    Best-known for his classic, star-studded caper spoof BIG DEAL ON MADONNA STREET aka PERSONS UNKNOWN (1958) – a Best Foreign Language Film Oscar contender that is still my favourite among his films and, possibly, my favourite comedy not in the English language, period! – but THE GREAT WAR (that was equally recognized by the Academy) is probably his masterpiece. Winner of the Golden Lion at the Venice Film Festival – tied with Roberto Rossellini's WWII drama IL GENERALE DELLA ROVERE starring Vittorio De Sica both here – over such superior titles as Otto Preminger's ANATOMY OF A MURDER, Kon Ichikawa's CONFLAGRATION and Ingmar Bergman's THE MAGICIAN (both 1958) – and at the David di Donatello awards, Italy's own equivalent of the Oscar, it is still underrated enough to have been given a baffling ** rating by "Leonard Maltin's Film Guide" – where, incidentally, its running time is given as 118 minutes, rather than the full 137 minutes – and the non-English-friendly Italian 2-Disc Set (which, after missing out on it a couple of times on TV over the years, is how I eventually watched it on the centenary of WWI, no less…albeit jettisoning the supplements altogether due to time constraints) is still its only home video release worldwide. The film's constant veering between drama and comedy requires some initial adjustment from the viewer but it eventually reaches an exquisite seamlessness. Leading man Vittorio Gassman had been renowned for drama up to his revelation as a comic actor in the aforementioned BIG DEAL ON MADONNA STREET; conversely, his sparring partner here Alberto Sordi was popular for his own comedy vehicles prior to this; indeed, Sordi would again go to war in two notable subsequent films: Luigi Comencini's similarly bittersweet EVERYBODY GO HOME! (1960) and the more typically comic THE BEST OF ENEMIES (1961; co-starring David Niven). THE GREAT WAR is an impressive Dino De Laurentiis production, notable for distinguished cinematographer Giuseppe Rotunno's sinewy tracking shots along the trenches and Mario Garbuglia's award-winning expansive sets. The film also offers a showy role for De Laurentiis's actress wife Silvana Mangano as the proverbial whore with a heart of gold who possibly bears Gassman's child; interestingly, this is just one of several Gassman-Mangano teamings that included the star-making BITTER RICE (1949) and the epics TEMPEST (1958) and BARABBAS (1961). To portray the colourful supporting characters that make up the irrepressible duo's comrades-in-arms, an excellent cast of familiar character actors was dutifully enrolled: Bernard Blier, Romolo Valli, Folco Lulli, Livio Lorenzon, Tiberio Murgia (returning from BIG DEAL ON MADONNA STREET), Ferruccio Amendola and Gerard Herter.

    Considering its significant length, it is understandable that the film follows an episodic structure but is decidedly replete with memorable vignettes: new enlistee Gassman bribing 'veteran' Sordi to avoid joining the Army in the opening scene; Gassman and Murgia's punishment for waking up late in the barracks is to have their hair completely shaved off; Gassman and Sordi asking their chaplain the way to the local brothel and he points them to Mangano's modest but highly popular dwelling; Amendola being constantly hit by the barracks' door whenever it is opened to herald a newly-arrived army bigwig on a morale-boosting tour of the trenches; cultured Valli being pestered by an illiterate private to write love letters to his beloved and read his mail and eventually having to lie to him when the local priest replies that she has married a rich old man; a messenger is killed when delivering a note from HQ that only wished a Happy Christmas to the troops (which causes the much-loved and usually well-behaved Lulli to throw a cup of brandy in his overzealous young superior' face); Murgia is constantly waxing about his love for famous actress Francesca Bertini but, when he does actually receive word from her, he tears up the letter after yet another casualty-ridden assault on their trenches; Gassman and Sordi giving their money, collected for an intended visit to a whorehouse, to Lulli's as-yet-unaware widow whom they chance to meet at the train station – subsequently joining a band of soldiers partying there amongst themselves with a minimum of girls to go around; Gassman and Sordi are continually volunteering for missions to shirk trench duties and often save their lives in the process: this stretch of good luck catches up with them at the end when the remote outpost they have ventured to is unknowingly abandoned by their army and they find it occupied by the Austrian enemy when they wake up the following morning; this leads to their heroic death when they refuse to divulge attack plans to Herter, followed by the film's sublimely ironic closing sequence where their long-suffering sergeant Lorenzon complains that these two ne'er-do-wells have once again managed to have it the easy way, cutting to an image of their lifeless bodies, and back again!
  • Monicelli is another genius and poet of the Italian cinema. We can only bless him for the long list of masterpieces he created for all of us: I soliti ignoti, Guardie e ladri, L'armata Brancaleone and of course La Grande Guerra. Two cowards, one from Rome (Sordi) the other from Lombardy (Gassman) try to save their lives during one of the most tragic moments (for Italy) of the WWI (the defense on the river Piave). While in some parts the film is truly a blame against the horrors of war, in other parts is somehow patriotic. Even the tragic final changes the protagonists into heroes, but really a strange kind of heroes, very different from the American icon (muscles and bravery). In conclusion, you will find a lot of fun but also thoughtful moments. I beg everyone who read this message to see this movies, it's truly one of the best ever.
  • La Grande guerra is a real lucid vision of the war that's because the point of view is moved on two characters of the common people with real emotions and feelings, so their military adventures at first creates a sense of funny but step by step everything becomes more dramatic because the war shows absurdities and contradictions that creates real human destruction. The maximum point is touched at the end. Because of this antimilitary soul in 1959 the movie was a real proof of intelligence.
  • I've only seen it twice, and it's already one of my favorite Italian movies of all time.Directed by legendary Mario Monicelli, this excellent comedy is set during WWI, when the Italians had to defend the river Piave from the Austrians.Two of the Italian soldiers happen to be really lazy cowards:Giovanni Busacca(Vittorio Gassman) from Milan and Oreste Jacovacci(Alberto Sordi) from Rome.They would rather spend their time at home with the mates and the ladies instead of fighting for their country.The only fights they have are with each other, both insulting the other one with their particular accents and dialects (you probably have to be Italian yourself to really appreciate most of the gags). The most interesting thing is perhaps how the two actors handle their roles: Sordi is very calm, controlled and "normal", while Gassman just can't stop being nervous, shouting and gesticulating all the time.

    Just like La Vita è Bella, this movie's purpose is to blame the horrors of war as well as making you laugh as much as you can.

    For those who like Italian cinema, La Grande Guerra is a must-see.
  • JohnHowardReid19 December 2016
    Warning: Spoilers
    Winner of the 1959 David (Italy's equivalent of the Oscar) Award for Best Film (shared with Generale della Rovere). Winner of the 1959 Venice Film Festival's Golden Lion for Best Film (also shared with Generale della Rovere). Alberto Sordi was voted Best Actor of 1959 for his performance in The Great War by the Syndicate of Italian Film Journalists. The Syndicate also voted Garbuglia's art direction as the best of the year. Nominated for the 1959 Award for Best Foreign Film, The Great War lost to Black Orpheus. COMMENT: For the most thrilling and effective use of genuine CinemaScope, it's hard to go past Mario Monicelli's La Grande Guerra. In this exceptionally lavish recreation of WWI Italian battlefields, Monicelli never allows a single square foot of waste space to appear on his screen. Instead his images are constantly crowded — almost always with men: ragged men, jostling men, cheering men, fighting men, slaughtered men, training men, retreating men, advancing men, hungry men, weary men, stupid men, brave men, victimized men, dead men. Vast columns of marching men are stretched across the screen, thousands often forming just a distant background to the forefront knockabout. Monicelli's idea was obviously to fill his screen to bursting with overflowing action. Somehow he has managed to persuade the producer to open his purse and spend more money on soldiery than Selznick did on Gone With The Wind. Just as the overwhelming hideousness of it all is beginning to lose its power, Monicelli skilfully pulls off a last-minute twist that drives home the film's firmly pacifist message with uncommon force. I'm not a fan of Vittorio Gassman, especially not Gassman in boisterous mode as here — well cast though he may be. But Sordi is ever appealing. Miss Mangano is saddled with a conventional and unlikely characterization which she plays with spirit if not conviction. Folco Lulli effectively repeats his Wages of Fear vignette. Blier's performance seems tired, but the Italian dubbing of his dialogue makes it difficult to judge. The other players are unknown to me, but all these minor roles were credibly cast, with Elsa Vazzoler especially compelling as Bordin's wife and Gerard Herter suitably menacing as the Austrian captain. It's true that the 140-minutes version does seem just slightly too long towards the two-hour mark, though, as said, interest is cleverly lifted soon after. The problem is, what scenes to cut? Those that could easily be removed with little loss of continuity are often the most effective and affecting. Personally, I'd take out Gassman's first long scene with Silvano Mangano — but no exhibitor in his right mind is going to do that!
  • I think this is one of the italian masterpieces of all times, disguised as a "comedy", just because the main characters are the best italian comedians of all times, Sordi and Gasmann. I would call it the "Divina Commedia" of comedy and of deep feelings against war but for the defense of one's country.
  • To the ghost of Mario Monicelli,

    Ciao ancora! The Great War/La Grande Guerra is the second movie directed by you that I watched over the last two weeks. I come from a patriotic country. And the only war films I have seen are mostly the American and British ones and the awful Indian ones. But your film was unique compared to all of them. It is almost a film which a commercial film audience could enjoy though I guess the hardcore patriots would not identify with the two cowardly lead characters. But they are characters anyone with a soul could relate to. Your film hardly ever had a dull moment. It was hilarious. There were so many instances when I laughed my ass off.

    The traitorous deserting characters were so tongue in cheek. The characterization is pure genius. The Destouches character from Celine's Journey to the End of the Night came to mind while I watched Oreste and Giovanni stumble through their life in the army. You did a great job portraying the horror of war despite the antics of the two protagonists. It is always the poor and the wretched who are doomed to fight the wars of the rich. Not an original message, but your treatment of this theme was unique.

    Vittorio Gassman is such an amazing actor. In India, someone who looked like him would never play a loser. Now I have watched three movies where he plays total losers.

    I will be stealing more of your movies over the next few weeks, Mario.

    Best Regards, Pimpin.
  • Italy, 1916. Roman Oreste Jacovacci (Alberto Sordi) and Milanese Giovanni Busacca (Vittorio Gassman) are reluctantly recruited to Italian army during Austria-Italy war . They both attempting a great number of schemes to get out for fighting and working . Giovanni bribes Oreste, believing to his fake pledges to make him evading the army . Both of whom try in every way to avoid serving the army but their circumstance dictates otherwise , as the destiny make them meeting again on the train headed to the front. However , Oreste stolen money to Giovanni they become friends and in first times are allocated to a secondary front . As two Italian soldiers find themselves in the mists of Austrian front , much against their will . Here they spend some months in relative peace and Giovanni finds time to have affair with a whore named Constantina (Silvana Mangano married to producer Dino De Laurentiis) . But war is getting everyday closer and unfortunately, they fall in the hands of a stiff officer Lieutenant Gallina (Romolo Valli) and a tough sergeant (Livio Lorenzon) . During the most important battle among Italians and Austro-Hungarians, when the Italians had to defend the river Piave from the Austrians , Giovanni and Oreste are in charge to deliver a vital message to the Italian headquarters , but they are trapped . Austrian officer (Gerard Herter) that, under life menace, starts an interrogation to find out the Italian message . The Great War is hell at its hottest , men at their mightiest , the screen at its greatest!

    This is an amusing film about two rogues called to serve the army in the WWI , as all the Italian youths , as the Italian Army fought against the Austrians during World War I , being excellently re-enacted by including movements of large numbers of soldiers during battle frames that are well come-to-life . This is a zany comedy seeing the misfit couple in all kinds of troubles involving Italian Army . This entertaining Sordi and Gassman recital provides too much amusement in detailing the duo's exploits in the wartime front . Slightly muddled but generally nice performed . Lots of comedy and hilarious dialog , including some spectacular battles with hundred of extras provided by actual Italian infantry . The film relies heavily on the continuous relationship between Albert Sordi and Vittorio Gassman , but it doesn't makes tiring , neither dull but entertaining . The main premise results to be two bungler as well as coward soldiers who under twisted circumstances turn into heroes . Special mention to Silvana Mangano as prostitute Costantina who falls in love for Giovanni . Very good Italian support cast such as Folco Lulli , Bernard Blier , Romolo Valli , Carlo A'Angelo , Livio Lorenzon and Gerard Herter , among others . Evocative and adequate photography by master cinematographer Giuseppe Rotunno , Federico Fellini ordinary . Imaginative as well as sensitive musical score by the great Nino Rota , conducted by usual Franco Ferrara .

    The motion picture was well directed by Mario Monicelli who gets to capture the same period feeling during the Great War . Mario Monicelli was born in 1915 Tuscany and died in 2010 , Rome ; being a good writer/filmmaker expert on comedies . As he was a writer and director, known for The army Brancaleone (1966), La ragazza Con Pistola (1968) , The marquis of Grillo (1981) and his greatest hit : Rufufú (1958). In fact , his movies Rufufú (1958), The Great War (1959) were Oscar-nominate for "Best Foreign Language Film". Furthermore , The Great War won Golden Lion in Festival of Venice .
  • A comedy (or perhaps more accurately a dramedy) about two lazy, cowardly Italian soldiers in the first World War. Sordi and Gassman are both terrific, there's some funny bits and touching commentary, and the film is very well shot with realistic battlefields. It's a sharp, humorous anti-war sentiment. I'm a bit at a loss to explain why I wasn't more taken with it. Maybe it was too scattershot, too episodic. While this does sort of mimic the chaos and randomness of war, I never felt like I could settle into the movie. Some event would start to develop and then be over a few minutes later. Then again, I can think of other movies I enjoy that do something similar (M. HULOT'S HOLIDAY) so maybe that's not it. For whatever reason, I didn't get fully engaged with this film, although I do recognize its assets. One of them being the fantastic, and very appropriate, ending.
  • Warning: Spoilers
    "La grande guerra" is an Italian movie from 1959, so this one had its 60th anniversary last year as I am writing this review now in 2020. Of course, it is a black-and-white film just like pretty much every film from Italy during that era. The title means "The Great War" and this is also the international title for this film, which should not really surprise anybody. This specific description is frequently used for World War I, but here in Germany, it is not extremely common to be called like that, which is why they went for a slightly different German title by using the German equivalent to "They called it the Great War" and even if this is also a good tile for a somewhat epic war movie, there is also a bit of a playfulness (let's call it that) included here that fits in nicely with the movie's less serious parts. They are definitely there and I think this film is also considered to belong to the Italian Comedy, Comedia Italiana or whatever it is called in Italian. There are many films and many of those include Sordi in the cast. I will get to that later. First it needs to be said that this is a really long film at easily over two hours. Also it can be added that it was not too common to make films about World War I. Even then, World War II was already the more frequent subject, which is a bit surprising because WWII ended less than 15 years earlier, so there was a lot still to be found out from the historic perspective. Kinda telling that the most known WWII films are from the 1990s, so 50 years later. So even if I myself also have bigger interest in WWII, I like that they went for WWI here. It is also good for those who fought in WWI that now they have a movie about one of the most defining (even if in a negative sense) days of their lives and maybe that is why many of them appreciated this film. The director here is Mario Monicell, one who is probably not remembered too much anymore today, especially if we are talking about non-Italian people who are not exactly film buffs. However, he managed two Oscar nominations approximately five years after this movie and his work here also got in at the Oscars in the foreign language category of course. In any case, Monicelli was a highly prolific and successful filmmaker whose career lasted for 75 years apparently. Pretty unreal number, but he was active until his death a decade ago. And the one thing he did even more often than directing movies was writing them, so nobody shall be surprised that he is one of several writers credited for this film as well. Now, enough about him and let's take a look at the cast here. I mentioned Sordi already and of course he is considered as one of the most influential Italian actors of all time. He also received awards recognition for his portrayal here and this surprises me a bit because Gassmann was more at the center of the movie than Sordi, but I guess they simply liked Sordi getting in come slightly comedic moments. So I mentioned Gassmann and he is the key lead as he for example also gets the only romance story, but still Sordi is co-lead of course. Yeah well, I kinda like Gassmann and his physical acting style. He is always a bit of a handsome hunk in his movies (with a big butt) and he sure is here in this story about a most unusual friendship between two extremely different characters.

    Sadly, there are also some flaws here. i would agree with people who say that the running time hurts the film. It is just too much. it could have been cut down to 110 minutes, probably even 100, without doing too much damage because there is some filler material in here as it felt to me. As many other times with Sordi's films, this is not really about much of a story or plot progressing. It is more about individual scenes depicting certain scenarios and giving us more information about the characters. But real development is nothing you will find here. The background is from beginning to end really war. People fight each other, people get killed. This is where the film could have made a bit of an emotional impact too, but came short because those who died were mostly characters we knew almost nothing about like the one we see being shot from very close by an execution squad relatively early on or also the young fella who we see having his eyes closed. Still these moments exactly lead us towards the ending, they prepare us for it basically and there we see the two main characters being killed by the enemy too and it was pretty telling. They did not tell anybody where the bridge was gonna be and this was the first time they were heroes as the surprise attack from the Italians was successful as a consequece and all the time before that almost they were cowards. well, that is a bit of a mean way to put it. Let's just call them pacifists, even if that on the other hand is too positive again. But yeah, their fear and even incompetence maybe resulted in a great deal of the comedy this film had to offer. Just take the scene when their superior takes out this grenade and they are gone within seconds really. There are more examples of that like when we see a superior (not sure it was the same, i think not) ask a group of soliders who would be ready to join a dangerous mission. Everybody acts as if he hadn't heard what he said. Kinda hilarious. There was one scene, however, that was really pretty symbolic for this movie. It was right after this young guy died and we see characters mourn, but we also see Sordi's character enter the room with some alcohol to celebrate or something at the very worst moment. That was typical for this film because it was a mix of comedy and drama and also typical for Sordi because he brought in the lightness, even if it was not fitting in this very scene, but otherwise it was. A great deal of the comedy is about chickens. Pay attention there not only to the name of a commander, but also to the scene that involves an actual chicken (and also how they combined it with said commander). They were hungry and wanted to eat the chicken, but most of all they did not want the Austrians to have it and when they realized they are not getting it and shot it as a consequence it landed over there with the Austrians. But also play attention to how the Austrians jump high up from joy and the Italians do not fire at them in this situation although they easily could have and probably would not have missed. So it was a bit of a really brief moment of peace we have here that otherwise could have become really bloody. So you see that there are certainly scenes in this movie that I liked and enjoyed, but it is just not enough quantity-wise for a movie of this running time. So the Oscar nomination and also the high rating here on imdb are definitely a bit on the exaggerated site. Or clearly on the exaggerated site even. I have a feeling that many may have forgotten about all the mediocre scenes in-between because of the pretty strong final sequence and twist honestly. Of course, the protagonists getting killed there reminded me of a similar ending of another pretty famous Italian movie. I will avoid spoilers, but perhaps you know whcih one I mean from the 1990s when the death of one main character saves the lives of at least one other.

    Alright, now back to this film here: What else can I say? Oh yes, the music I liked as well. i do not necessarily mean the soundtrack with that, but rather these musical narration parts that were actually sung by real soldiers I believe. At least, that is what I was being told and it makes sense. It's no professional singers, but maybe that is why it felt so classy because they could associate with this film in such a strong manner. Also I heard that several of the actors here were indeed soldiers, however age-wise obviously soldiers from WWII. Still a nice tribute and why not handled it this way when they do not have to talk and are just there. I got to watch this film today on the occasion of a film series tribute to Alberto Sordi's 100th birthday that was just three months ago, which means the Golden-Globe winning actor was just in his late 30s when this movie got made. By the way, a bit surprising that the film got selected to represent Italy at the Oscars because it was not the biggest success in Italy itself when it comes to national film awards, but still. Finally, a few more words on the end again: I liked it a lot that they took the tragic route here for both characters because honestly this was the only one that would have felt realistic, no matter if they had given the secret to the enemy or not. Fleeing there would have been a totally unauthentic course of events. There just would have been no way out for them. So had they managed to get away, then it should have happened before they got caught, but also would have beenn a weird way to end it somehow, although maybe a more comedic showing us they are like rabbit who always manage to get away. But I still think they picked the right choice in the end. Annd even with their certainly existing flaws, you started to like these two by then and see them more through their likable character traits, so it was shocking eventually to see them go. They were no killers, no soldiers. The best example of them being likable is actually when they want this enemy soldier to finish his coffe or so before killing him, but other Italian soldiers show up and immediately shoot him. Thoese were the ones made for the job. Overall, I have to give this film a thumbs-down. In its better moments, it deserved the thumbs-up, but as I said earlier, these quality moments were not often enough. Or only often enough for a film that is at least half an hour shorter. Gotta give a thumbs-down here, although I guess if you consider seeing this one, you have seen other Italian "comedy" movies from this era and you can make up your mind yourself. Negatively recommended. I must say sometimes it felt like an old military version of Police Academy with how incompetent the two were depicted.
  • Warning: Spoilers
    (Includes spoilers!) THE GREAT WAR stands as one of the essential films exemplifying the "commedia all'italiana" genre, that is, films which while being comedies often have a serious, even tragic undertone. Take our two heroes here, the Roman Oreste Jacovacci and the Milanese Giovanni Busacca (Alberto Sordi and Vittorio Gassman). Caught in the insanity of World War I, this Abbott and Costello duo will do anything to escape danger and responsibility. After being fairly successful at the game, they have the misfortune to fall into the hands of the enemy Austrians, who want to pump them for information. But these two connivers and shirkers, in a rush of untapped patriotism, are unwilling to cause the possible deaths of their compatriots and so will chose or allow themselves to die instead. Circumstances turn cowards into heroes, much in the same way the con-artist played by De Sica in IL GENERALE DELLA ROVERE soars to lofty nobility at the end of that film, completed that same year. Talented director Mario Monicelli has filmed a gritty panorama of the World War I, Italy's first real film on the subject, in which the visuals and the overall "feel" are utterly convincing. The great cinematographer Giuseppe Rotunno has captured the same period feeling that is akin to old-photographs-come-to-life that we would see later in his 1963 I COMPAGNI (THE ORGANIZER). Here he works in wide-screen CinemaScope that is especially effective in following movements of large numbers of soldiers in the battle scenes. The music by veteran Fellini-composer Nino Rota is appealing, and we get the songs and popular chants of the era. Silvana Mangano provides feminine interest as a crafty prostitute. This is a major Italian film of the 1950's and it should be far better know
  • I saw this in Czechoslovakia way back in 1960's and still remember it. I am glad it lists here as a "comedy", it sure is one. That is why it will not be available to us on video of any format in any language under any circumstances. It subverts the "enetertainment' concept. An alternative ? Try Roberto Begnigni, the schlemiel nouveau.
  • La Grande guerra is one of the underseen, undervalued hordes of sublime European films that never see the light of day.

    In the 1960s in the centre of London there was the Academy, Oxford Street, Curzon, Mayfair and one of two other cinemas where the delights of the European cinema were on view. I have lived in Oslo since 1990. It is a cinema friendly city, but overloaded with Hollywood rubbish like most Bruce Willis actioners, or Nicolas Cage going for the money and not to expand his substantial talents as he has done in the past.

    This is not intellectual snobbery, just a cry from the heart about the lack of quality that is so endemic in current films.

    "Crouching Tiger, Flaming Dragon" - I forget the real title is an example of American audiences accepting the quality of non-US movies.

    "Die Hard"-type movies are good only to perhaps release aggression. It shows the typical obsessive need for America to breed only heroes. The villains with the fantastic exception of John Malkovich are usually superb English actors with foreign accents. Alan Rickman in "Die Hard" and Jeremy Irons in one of the mindless sequels.

    U571, now the most popular film in video shops where I live is such a devasting con-trick. A real piece of history when a British submarine acquired the Enigma decoding machine which made a significant difference for the Allies to get advance information about German war plans. The heroes are American. Sickening. Dramatic licence is one thing, but fraud is another. The event occurred six months before the US even entered the war. These are well-known complaints.

    Reminds one of the crassness of putting of Warner Bros. promoting "Objective Burma" in the autumn after the end of the war. Depiction of Errol Flynn (unfit for war service) winning against the Japanese military with not one British soldier in sight.

    Reminds me of the stories of a close friend and veteran of World War II. The US Army using earthmoving machinery to dig trenches when the British had shovels, the often sidelining of American troops due to the prevalence of veneral disease. The stories of British and other troops relieving American positions with a quarter of the manpower.

    In movies, with the exception of garishly-suited black pimps in stretch limos, the villains in movies and TV series used BMWs, and other European cars, which also were often beset with engine problems. Unlike the perfection of GM, Ford models etc.

    _Don't get me wrong. With the exception of a mad Bellevue, New York psychiatrist I had once Americans are certainly charming, friendly people.

    La Grande Guerra is one of the thousands of films that ought to be revived every 10 years like a classic Disney feature.