The Battle of Algiers - Criterion Collection
by Gillo Pontecorvo
from Criterion
Director Gillo Pontecorvo's 1966 movie The Battle of Algiers concerns the violent struggle in the late 1950s for Algerian independence from France, where the film was banned on its release for fear of creating civil disturbances. Certainly, the heady, insurrectionary mood of the film, enhanced by a relentlessly pulsating Ennio Morricone soundtrack, makes for an emotionally high temperature throughout. Decades later, the advent of the "war against terror" has only intensified the film's relevance.
Shot in a gripping, quasi-documentary style, The Battle of Algiers uses a cast of untrained actors coupled with a stern voiceover. Initially, the film focuses on the conversion of young hoodlum Ali La Pointe (Brahim Haggiag) to F.L.N. (the Algerian Liberation Front). However, as a sequence of outrages and violent counter-terrorist measures ensue, it becomes clear that, as in Eisenstein's October, it is the Revolution itself that is the true star of the film.
Pontecorvo balances cinematic tension with grimly acute political insight. He also manages an evenhandedness in depicting the adversaries. He doesn't flinch from demonstrating the civilian consequences of the F.L.N.'s bombings, while Colonel Mathieu, the French office brought in to quell the nationalists, is played by Jean Martin as a determined, shrewd, and, in his own way, honorable man. However, the closing scenes of the movie--a welter of smoke, teeming street demonstrations, and the pealing white noise of ululations--leaves the viewer both intellectually and emotionally convinced of the rightfulness of the liberation struggle. This is surely among a handful of the finest movies ever made. --David Stubbs
One of the most influential films in the history of political cinema, Gillo Pontecorvo's The Battle of Algiers focuses on the harrowing events of 1957, a key year in Algeria's struggle for independence from France. Shot in the streets of Algiers in documentary style, the film vividly recreates the tumultuous Algerian uprising against the occupying French in the 1950s. As violence escalates on both sides, the French torture prisoners for information and the Algerians resort to terrorism in their quest for independence. Children shoot soldiers at point-blank range, women plant bombs in cafés. The French win the battle, but ultimately lose the war as the Algerian people demonstrate that they will no longer be suppressed. The Criterion Collection is proud present Gillo Pontecorvo's tour de force—a film with astonishing relevance today.
The Message (30th Anniversary Edition)
by Moustapha Akkad
from Starz / Anchor Bay
Producer-director Moustapha Akkad made a true labor of love out of The Message, which seeks nothing less than to tell the story of the origins of Islam. Originally released in the U.S. as Mohammad, Messenger of God, the film has the appeal of most biblical epics: persecuted true believers, a revolutionary prophet scorned by the powers-that-be, and the miraculous triumph of faith. It also has the cheesiness of many biblical epics, with nose-flaring performances and awkward dialogue, but the whole mish-mash is generally entertaining (and informative for those unversed in the "origin stories" of Islam). Akkad had one major hurdle; he couldn't portray the person or voice of Mohammad himself, as such things are traditionally forbidden in Islam. To say the least, this presents an interesting narrative challenge. Akkad tackles it by having characters address the camera-as-Mohammad, or having disciples step out of Mohammad's tent to repeat what the prophet has just said. It's a weird device, but the surprising thing is how often you forget about it. Akkad is aided by some topnotch technicians, including cameraman Jack Hildyard (The Bridge on the River Kwai) and composer Maurice Jarre (whose score was Oscar-nominated); Anthony Quinn, Irene Papas, and Michael Ansara lead the cast.
Also included in the two-disc set is the Arabic-language version of the film, which was shot at the same time with different actors. (It comes without English subtitles.) It runs about 20 minutes longer than the English version; Akkad explains, in a helpful 44-minute making-of documentary, that Arab styles of storytelling (including pacing) and acting are quite different than in the West. Akkad would also make Lion of the Desert and executive-produce the Halloween pictures. He died in the November 2005 terrorist bombings in Jordan. --Robert Horton
Z
from Fox Lorber
Costa-Gavras's Z, winner of the 1970 Academy Award for Best Foreign Film, is a classic political thriller, combining intrigue with raw emotional power. The story turns on the investigation of the assassination of a left-wing Greek politician (Yves Montand), and his government's attempts to cover up the murky circumstances. Montand receives death threats as he prepares to give a speech condemning the government, and is then run down in front of numerous witnesses. Jean-Louis Trintignant (The Conformist) plays the judge assigned to the investigation, who gradually discovers how far the state will go to rid itself of political opposition. As he is warned off the case by his superiors, the judge becomes even more determined to discover the truth, no matter where it might lead. Costa-Gavras (Missing, Mad City) is in familiar territory here, but no one handles this type of material better. Z is a classic of political intrigue and social consciousness. --Robert Lane
From the acclaimed political film maker Costa-Gavras (Amen, Missing, Music Box) comes Z, winner of the Best Foreign Film Oscar® in 1969. Z's edge of your seat action closely parallels the real life assassination of Gregorios Lambrakis, a Greek doctor and humanist whose murder in 1963 led to an abortive public scandal. Hailed as one of the greatest political thrillers ever made with superb performances by a top international cast including Yves Montand (Jean de Florette), Jean-Louis Trintignant (Red) and Irene Papas (Zorba the Greek), Z is one movie "you can't afford to miss."
Road to Love
by Remi Lange
from Water Bearer Films, Inc
This romantic drama follows a young and apparently straight French-Algerian student, Karim, on a sociological quest to find gay Muslims. Through is investigations, the likable and handsome Karim meets a number of gay Arabs, from self focused Youssef to sexually aggressive Mustapha. It is handsome flight attendant Farid who leaves a lasting impression. While the friendship between Karim and Farid slowly intesifies, Karim is forced to confront the fact that his investigations will not only reveal the fascinating history and culture of gay Muslims, but also his own homosexuality.
Satin Rouge
by Raja Amari
from Zeitgeist Films
A Tunisian widow takes an unlikely journey of self-discovery in Raja Amari's sumptuous and sensual SATIN ROUGE. While investigating a suspected liaison between her headstrong teenaged daughter and a cabaret musician, Lilia becomes drawn to an exhilarating nightclub netherworld of Rubenesque belly dancers and nocturnal pleasure-seekers. In trading her shapeless housedresses for sequins and satin, she begins to emerge from her cocoon of melancholy and loneliness. Writer-director Amari's tale of liberation recalls Douglas Sirk's 1950s suburban melodramas as it also paints a distinctly modern portrait of Arab women.
Alexandria...Why?
by Youssef Chahine
from Fox Lorber
Set in the Egypt during and after World War II, Youssef Chahine's autobiographical drama of his youth in Cairo is a bright, bustling mosaic of a country embroiled in conflict and struggling with its identity. Centered on the story of high school student Yehia Mourad (Mohsen Mohiedine), Chahine's cinematic alter ego, it's national history through a personal perspective and the first film autobiography ever in Egyptian cinema. As the strains of nationalism set Arabs against British soldiers, political factions against one another, and races and cultures at odds, Yehia escapes through theater and the movies, dreaming of Hollywood as he stages his own plays and theatrical reviews until he's swept up in student activism. No stranger to challenging conventions and taboos, Chahine features an interfaith romance between a Jewish woman and a Muslim activist and a homosexual relationship between Yehia's wealthy uncle and a young British soldier among his many stories. In fact, he packs the film so full that the colors threaten to bleed together, but Chahine masterfully keeps the film coherent and clear while driving it forward at a racing pace. The action at times abruptly jumps from one thread to another, as if matching Yehia's torn loyalties between art and political action, but the tonal shifts only add another layer of richness to the passion Chahine has lavished on this film. It won the Special Jury Prize at Berlin in 1979 (Chahine's first major festival prize), and was followed by two other autobiographical films, An Egyptian Story and Alexandria Again and Forever, which became known as the Alexandria Trilogy. --Sean Axmaker
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