Sexyloutak Absolutely the worst movie.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Tobias Burrows It's easily one of the freshest, sharpest and most enjoyable films of this year.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Theo Robertson Oh dear an Italian war film . I had visions that I was going to be watching either a remake of THE DIRTY DOZEN or 90 minutes of hunky Mediterrians waving a white flag shouting " We surrender " in 97 different languages . Sorry if I'm playing up to either cinematic or historical stereotypes but unlike Mussolini I didn't have high hopes . Michael Rennie as Monty ? Well I doubt if this would be getting broadcast on The History Channel . Or indeed anywhere else in BritainThe film did defeat my prejudices , but only in the first half , and it turned out to be a Pyrrhic victory and before the film reached its end titles the victory the film had over me and turned in to a defeat on the scale of Stalingrad . It is undoubtedly intriguing watching a war film from the other side . ALAMEIN isn't unforgettable human cinema in the way DAS BOOT was but does portray all sides in the conflict as being people who have families at home and it's this that is important to the characters rather than the wider politics of the conflict . Okay maybe the " War is hell " statements are overdone but it's possibly in keeping with the Italian mindset during this era . The Italians were badly equipped with obsolete equipment , very badly led and Italy would traditionally through the last couple of centuries side with the British and French often against Germany so Mussolini's pact with Nazi Germany despite being logical from a political point of view goes against the historical grain . Add to this the fact political and military leaders were quickly promoted due only to their loyalty to the Italian Fascist party and you can see why the average Italian conscript might not be too happy getting killed fighting against a democracy , especially if he knows he's probably going to be better fed in an allied POW camp than in his own army . As a battle hardened NCO realises his section is going to be led by a glory seeking officer we have all the makings of a good melodrama The film then proceeds to blow it by going out of its way to ruin the early potential . Little things such as the anachronistic Italian helmets with their 1960s camouflage patterns you can overlook if the bigger picture is impressive but it's not . The story soon loses its early focus and instead jumps from one half baked thread to another . Rommel starts getting involved in a plot that would lead to the July 1944 bomb plot . Common myth but Rommel had nothing to do with that . British equipment includes 1960s era American APCs and 1950s era tanks and march in to battle playing bagpipes which sound nothing like bagpipes . It's interesting that the film in its early stages portrays all sides as being intelligent but then in the latter stages British tank crews don't notice Italian soldiers as they nonchalantly wander around the battlefield sticking bundles of dynamites on tanks . Tanks that conveniently have straps that you can attach bundles of dynamite to . The macho heroics jars in comparison with the first half of the film that does have an anti-war feeling to it and by this stage it has become a different and much inferior movie

georgegauthier British forces are seen attacking with armored personnel carriers developed after the war. The M113 APCs were first fielded by the US in 1960 and were adopted by many other armies in the Free World. The boxy shapes of their aluminum hulls are unmistakable to any G.I. like me who served in Vietnam. By this time in the war, the British were well aware of the need to have their infantry attack with their armor to keep enemy infantry from doing what the Italian soldiers are shown doing in the last battle: swarming over the tanks and taking them out with anti-tank mines and Molotov cocktails. Still this is a fairly good movie, one worth watching.

pmiano100 Lt. Borri (Frederick Stafford) is not so much a martinet as he is a relatively brave man who is ashamed of the Italian Army's accurate reputation for cowardice. Throughout the film, the Italians are excused for their cowardice by showing them as disillusioned and betrayed by their allies, the Germans. Rommel may be anti-Nazi, but he willingly sacrifices Italian troops to protect his own, which he really did. Borri tries to prove to his British foes and to himself that not all Italians are cowards, and winds up mistaking foolhardiness for courage.The Italians are shown as the only soldiers thinking about their families back home, like Borri's brother. This another attempt to show that they are not cowards, just peaceful, ordinary men - as if most Britons and Germans weren't. When Lt. Borri is captured by the British, no other Italian POWs will join him in his escape. They are all glad to be out of the war.In the end, Lt. Borri sacrifices his life in a heroic gesture history shows was ultimately futile. His brother and the others are taken prisoner, proud but no doubt also glad to be out of the war. Borri's brother will live to see his wife and child - if they aren't killed when the Allies invade Italy in 1943. They will spend the next 2 years slowly fighting their way against the Germans to the Alps. Italy will be ravaged in the process. That was the ultimate price Italian families paid for the cowardice of their soldiers, who mostly never expressed any regret.A well-acted, moving, if cheaply made film. However, like "Brave Gente", it is another apologia for the pathetic performance of the Italian Army. This "army" had to use poison gas to beat the Ethiopians.

SgtSlaughter "The Battle of El Alamein" is to the Italian film industry what "The Longest Day" was to Hollywood – a historically accurate portrayal of a real military action. This Italian-French co-production was filmed with the full cooperation of the Italian Army, and features a star-studded international cast.Director Giorgio Ferroni spends some time focusing on the officers running the battle to outline the big picture and lend historical credence to his focus, a fictional story of a front-line Italian infantry company which becomes entangled in the campaign. When his Captain (Ettore Manni, "Heroes in Hell") is killed, Lt. Giorgio Borri (Frederick Stafford, "Eagles over London") is forced to take over command of his company. Borri is an inexperienced young officer with a lust for adventure, even if it means putting his men in harm's way. Stafford is never less than totally convincing, the contempt his men feel for him can be shared by the audience. He's a true jerk who learns the hard way what war is all about. Enrico Maria Salerno is his brother, a veteran Sergeant-Major, who shows up unexpectedly and question's the Lieutenant's decisions every step of the way. Rounding out the platoon are several familiar Italian actors, including Sal Borgese, Ricardo Pizzuti, Massimo Righi and Nello Pazzafini.To add credibility to his story, Ferroni also spends a great deal of time focusing on the situations within both the British and German High Commands. Michael Rennie ("The Devil's Brigade") plays Field Marshal Montgomery with gusto and arrogance, just as well and as memorably as Michael Bates would in "Patton" less than two years later. Also on the British side is the humanitarian Lt. Graham Lt. Graham (George Hilton, "The Liberators"), who protests the massacre of innocent German prisoners in one moving, dramatic scene and winds up volunteering for a suicide mission. He also has a face-to-face encounter with Lt. Borri, which breaks down the barrier between opposing sides in wartime. The men on the front lines are just grunts, there to do their job – the officers, even those on your own side, don't care about you and your welfare; you're just another rifleman. Finally, Ferroni focuses on the German situation and these may be the finest scenes in the film. Most of the scenes take place in an underground command bunker, a set which has never been so well-captured and looked more realistic. Field Marshal Rommel is played brilliantly by Robert Hossein ("Desert Assault"), who makes Rommel a true skeptic of Hitler with his stern and loud opinions. Rommel was a true soldier, fighting to get the job done, and Hossein's performance is on-target. The supporting German characters are all excellent, too: Gerard Herter ("Battle of the Commandos") is especially good as a dedicated Nazi General; Tom Felleghy ("Kill Rommel!") plays Gen. von Thoma, a skeptic of just about everything, loyal only to Rommel; and Giuseppe Addobbati ("Hell's Brigade") is an incompetent General, who makes a poor tactical error, resulting the destruction of half of the Afrika Korps. The action sequences are all the more believable and gripping because of the characters embroiled in them. The film's opening is a sequence depicting the ambush of an Italian artillery company, in which Ferroni makes the most of his camera. This sequence is filled with pans, zooms and quick cutting. Machine-gun fire kicks up puffs of dirt everywhere and several soldiers die. The later battle scenes are shot with the same dedication to detail, and for the third act Ferroni brings in dozens of tanks and lots of big explosions. There is one really bad-looking night scene involving some miniature tanks, but that can be virtually ignored because everything else outweighs it. Despite the epic proportions of the action, the well-established characters give them a deeply personal significance. From the start of the film, Ferroni establishes a mood and feel of intensity and hopelessness. None of the characters are clean-shaven; they are all sweltering in the intense desert sun. One scene in which Lt. Borri must trek through the desert alone without water was especially well-acted. This film takes the story of the heroic grunts in the field and makes us feel for them – feel their thirst, feel their joy when supplies arrive, feel their longing for home when one soldier fondles a picture of his newborn son at home. Carlo Rustichelli's mournful score only adds to the proceedings.Tie a great cast, epic battle sequences and fine editing and flavor and one has a strong, entertaining war film. This ranks with the classics. Not be missed!