The film is about the very beginning of the emergence of the Algerian NLF, its development, but mainly its decapitation by the French imperialists as embodied in the notorious paratroopers.
Yes, it is true that Portecovo (the film. director) does not deal with the most interesting stage of the Algerian resistaance for a revolutionary, namely, the re-emergence of the NLF and its breakthrough during the years 1960-62. True, the end of the film-the success of the revolution is presented as if the whole movement had meen the work of a conjurer or of a god. The "demos" towards the and appear much more as some sort of mystical dances.
Yes, the "arthodox" Marxists, who will look for a method to construct the Leninist combat party" will be disappointed. Yes, the ultra-lefts might think they have been vindicated. However, whether delighted or disappointed, all revolutionaries will find the film inspiring. It breathes a revolutionary elan, enthusiasm, initiative, dedication..... in a word: it is of the revolution.
But all this is not why we want to write about the film here, nor why we think that for a revolutionary this film is a "good film."
The most interesting fact is that the whole "story" or "plot" is seen from a class position and because of this consistency the film can in no way be claimed by the bourgeoisie (not even by its most liberal wing). It is essential to explain what we mean by this as we regard this criteria as extremely important when judging a film.
Let us take Z for a comparison. Z is a film that sections of the ruling class can see and even enjoy. And that is because, even though it doesn't compensate for bourgeois atrocities, the "baddies" (all the Generals involved in the assassination) are punished within the framework of the bourgeois legality game and what is more through a member of the bourgeoisie itself: young idealist judge (who will have time to form or trans-form himself). THe ruling class, therefore can get away with Z by thanking its own system for providing such "just justice."
Battle of Algiers is nothing of the kind.
Justice is done outside the system, It is not granted by the bourgeoisie; it is conquered and imposed by the masses.
EVENTS MONDAY: Birmingham Red Circe, 7.30, The Black TUESDAY: Oxford Red Circie, 34 Minster Roed.
Contact Martin Meteyard, 46127.
WEDNESDAY: Stafford Red Circle, 8 p.m., Dog & THURSDAY: Glaigow Red Circk, Christian Iratitute, Bothwell Street, 7.30.
THURSDAY Norwich Red Carcie, Festival House puts lopo: St. Andrews Hall, B p.m SUNDAY. Eating Red Circle, The Anchor, Uxbridge Rasd Inex! 1a Daniels). 7.30.
EVERY TUESDAY: Vietnam Solidarity Committee meets, Queens Arms. Panton 5t, N.1, 7.30, to work for Apol zach rally obama. everyone iticaca in The major difference between the two films is that one is a good thriller with a very well-sustained suspense, bringing us a cathartic ending, after which, every thing goes back into its place. The other one is a continuous and relentless clash between two classes which must result in the balance of class forces baing tilted decisively one way or the other. One could paraphrase Breton on Rimbaud and say that Costa Gavras is guilty for not preventing the possibility of his film being taken over by the bourgeoisie-or rather that section of the bourgeoisie which does not want to acknowledge the existence of the class struggle. Because in a few words this is what it boils down to-the class struggle. If Battle of Algiers is unbearable for the entire bourgeoisie it is because it is completely free of any smell of compromise. It does not at any moment and in any way blur the issues or permit for more than one interpretation. Through: out the antire film, it progresses along a confessed and explicit class line as far as both sides are concerned (NLF representative: " Give us the planes, we'll give you the baskets."/Paratroopers chief: " The Algerians want us to go, we want to stay.') At last a film which doesn't portray the fascists (paratroopers] as half-beasts, half-men monstrosities whose only motivation is sadism. Fascism is shown here first and foremost under its rational angle-Colonel Mathieu is an intelligent man who knows his job.
who analyses it and transmits it in a masterly fashion. It is only then that fascism is shown from the angle of what it leads to and what its logic is: violence, tartures, sadism.
Yes, the film is very violent, but Portecovo is not exploiting sensationalism. Again, here, violence is seen through petty bourgeoisie which explodes at the slightest incident and wreaks "vengeance" on the most innocent. In the film, it is at the race course that the climax of their hysteria savagely uncalls itself on the child sweet-vandor.
either be unbearable or not make senseAPRIL 11th: Clann no h'Eireann Easter coromamora.
fion demonstration, Birminghain APRIL 12th West Landon Socialist Woman Group meeting. ring Leanora Liovd. 574 7407 for detais.
APRIL 13th Central London Socialise Women Group meeting, 8 p.m, George IV pub, Pentonville Road COrNER SUMMODE NICATIO HIRECTY 700 BEHES APRIL 19th: VIETNAM public mosting. Sporker;
Duncan MoNiven. 8 p.m, Hanwell Library, Cherington Roon, W.7.
APHIL 20th: Women's meeting in solldarity with Indo Chira. Speakers, including a Vietnamese woman it possibie, and discusson 7.30 p.m. Waily Teame Goldington St. Inr. Mornington Crescont sra.! Rice Linda Fryd, 007 8107 for details, London Socislist Woman Group APRiL 24th: internstional Day of Solidarity with ers" throughout the film is the motive this class ascribes to the Algerians. Cou nterposed to this is the calm and dignity of the Algerians as they sift through the shattered remains of that part of the Casbah blown up by the embryonic OAS. Unfortunately despair can and does affect the guerrillas as well. Hence that impulsive and reckless drive in the crowded city which leads to the death of masses. two Arabs. Lastly, and most important is that strand of violence which has an and imperialist domination on the other.
For the benefit of those who remember only Ali-La-Pointe, Kader, Colonel Mathieu (and maybe also the three women "terrorists"| and who by the way are either those doctrinnaires who complain that the masses are not there, or those who are only captivated by the feats of a few, we will try to make them "see"" the film in retrospect. Throughout the film, the camera goes from the Kasbah to the European sector and back again. Now, this is not merely to follow the actions of the few leaders. violence of those people who because they What the Kasbah epitomises is that very mass of Algerians whose consciousness, of course, is not even, but which is seen 'SUBSCRIBE! as totally unified-therefore potentially fighting. Proof: the various scenes where Ali or Kader have only got to burst into any house to find some sort of shaiter. Also the total unanimity with which the Kasbah responds to the call for a general strike. Whoever has not felt the atmosphere prevailing in the Kasbah, has not seen the film; indeed has not seen the A last point about the film. Battle of Algiers is probably one of the best films aim: national liberation on the one hand on women's liberation precisely because it is not about it. The NLF women are being used as women only in so far as it can help them to con the French soldiers. Back in the Kasbah they are only three militants. Right through the film there is no concession to femininity-not even the inevitable protective male arm round the shoulders for the only woman of the group who is just about to be blown up.
Needless to say, the film should be seen by every revolutionary militant, as apart from averything else, its relevance to Ireland is fairly striking.
Marie-Therese Weal
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and reflects class consciousness. THere is the aggressive violence of the French
It is the violence of that very part of the bourgeoisie for whom the film would
do not think in terms of classes, think in terms of madness. "Murders-Murder-