Difference between revisions of "Macaroni Combat: A History"

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===THE DAWN===
===THE DAWN===
   
   
From this idiom coined by [http://www.tarantino.info Quentin Tarantino], and aided by my teenage passion, I felt compelled to do a study on yet another "sub-genre" created by the Italian cinema in the 60s-70s, the Maccaroni Combat or rather...the Italian war movie!  
From this idiom coined by [http://www.tarantino.info Quentin Tarantino], and aided by my teenage passion, I felt compelled to do a study on yet another "sub-genre" created by the Italian cinema in the 60s-70s, Macaroni Combat or rather...the Italian war movie!  
   
   
This subgenre which was brought to light thanks to [http://wiki.tarantino.info/index.php/Inglourious_Basterds Inglourious Basterds] by the American master Quentin Tarantino, it is a lesser known chapter of the Italian "B" movies. The war films have never enjoyed enormous popularity in Italy because they were made to scrape together some money, especially with foreign distribution in poor countries, with little conviction on the part of the producers.  
This subgenre which was brought to light thanks to [http://wiki.tarantino.info/index.php/Inglourious_Basterds Inglourious Basterds] by the American master Quentin Tarantino, it is a lesser known chapter of the Italian B-movies. The war films have never enjoyed enormous popularity in Italy because they were made to scrape together some money, especially with foreign distribution in poor countries, with little conviction on the part of the producers.  


However, given that the undersigned, the genre has always loved, and on the net is very difficult to find about it, I decided to do this simple task to make them known for the lovers, the curious and all film fanatics!  
However, given that the undersigned, the genre has always loved, and on the net is very difficult to find about it, I decided to do this simple task to make them known for the lovers, the curious and all film fanatics!  
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After this introduction, we look at every detail of these films (casts, locations, soundtracks, etc..), We'll try to understand where the birth of the genre started and the successes (or failures) it had.  
After this introduction, we look at every detail of these films (casts, locations, soundtracks, etc..), We'll try to understand where the birth of the genre started and the successes (or failures) it had.  


As mentioned earlier, everything is born from the "vice" typically Italian of the time, to make some money with the imitation of the American blockbuster, in this case war and adventure. Movies like "The Guns of Navarone," "The Great Escape", "Where Eagles Dare", "The Bridge on the River Kwai", etc.. had been able to combine the traditional rules of war movies with adventure, romance and violence that raged so much in those years. This of course, had been very fruitful, like the colossal budgets, great actors, directors and senior technicians. In Italy, as for the others genres (western, detective, peplum, sci-fi, etc..), we wanted to ride this wave, but there was a small difference in terms of the budgets, the actors and directors (together with technicians) artisans, handyman.
As mentioned earlier, everything is born from the "vice" typically Italian of the time, to make some money with the imitation of the American blockbuster, in this case war and adventure. Movies like The Guns of Navarone, The Great Escape, Where Eagles Dare, The Bridge on the River Kwai etc. had been able to combine the traditional rules of war movies with adventure, romance and violence that raged so much in those years. This of course, had been very fruitful, like the colossal budgets, great actors, directors and senior technicians. In Italy, as for the others genres (western, detective, peplum, sci-fi, etc..), we wanted to ride this wave, but there was a small difference in terms of the budgets, the actors and directors (together with technicians) artisans, handyman.
   
   
I can only anticipate that Mr. Brescia, Castellari, Lenzi, Loy, Siciliano, Ferroni, etc tried to do their best with the arrangement. In spite of themselves, the success the films had was limited. Something valuable was lacking.  
I can only anticipate that Mr. Brescia, Castellari, Lenzi, Loy, Siciliano, Ferroni, etc tried to do their best with the arrangement. In spite of themselves, the success the films had was limited. Something valuable was lacking.  
   
   
"The Battle of El Alamein" by Giorgio Ferroni uses a discrete Frederic Stafford (not new to Italian cinema) to tell the heroic resistance of italian paratroopers of the Folgore sandy hell of El Alamein. In this film there's several scenes of battle tanks and discrete locations in the desert. There's also relevant historical reconstructions and some war surplus original. Next, I would like to quote "The Battle of the Desert" by Mino Loy, who, using the usual plot of the patrol dispersed in the desert (recovery then in many other titles in the genre). As well as scenes of war, the film is an analysis of human relations between winners and losers. In the end, as in every war in that respect, a win is only death. There are beautiful scenes of action in desert environments. The film's poster is also gorgeous.   
[[The Battle of El Alamein]] by Giorgio Ferroni uses a discrete Frederic Stafford (not new to Italian cinema) to tell the heroic resistance of italian paratroopers of the Folgore sandy hell of El Alamein. In this film there's several scenes of battle tanks and discrete locations in the desert. There's also relevant historical reconstructions and some war surplus original. Next, I would like to quote "The Battle of the Desert" by Mino Loy, who, using the usual plot of the patrol dispersed in the desert (recovery then in many other titles in the genre). As well as scenes of war, the film is an analysis of human relations between winners and losers. In the end, as in every war in that respect, a win is only death. There are beautiful scenes of action in desert environments. The film's poster is also gorgeous.   
   
   
Another title that I enjoyed is "Commandos", in which a great Lee Van Cleef, tries to "bastardize" war with moments of real tension like the spaghetti westerns of Sergio Leone. How can we forget it, the exchange of glances between the spies and the spied upon, between those who deceive and the deceived. Close-ups that only the master Leone could do. I would also like to stress that this film is written by Menahem Golan, who in the 80s, founded the film company American "Golan-Globus", featuring the likes of Stallone, Norris, Schwarzenegger and Van Damme!!!  
Another title that I enjoyed is [[Commandos]], in which a great Lee Van Cleef, tries to "bastardize" war with moments of real tension like he did in the spaghetti westerns of Sergio Leone. How can we forget it, the exchange of glances between the spies and the spied upon, between those who deceive and the deceived? Close-ups that only the master Leone could do. I would also like to stress that this film is written by Menahem Golan, who in the 80s founded the film company Golan-Globus which featured the likes of Stallone, Norris, Schwarzenegger and Van Damme!!
   
   
In the film "Zero Probability", a cold Henry Silva plays a character in a story similar to "The Guns of the Navarone." The difference is that the plot, in this case, is set in Norway. Our suicide commandos must blow up a heavily fortified German base located in the heart of a Norwegian fjord. Apart from the locations that are typically Mediterranean (Spanish or italic) and some other obvious historical facts, the plot, the photography and the music is well done. The film also has a decent thread of suspense. The story was written by a young Dario Argento, this is sufficient to raise the level of the film.
In the film [[Zero Probability]], a cold [[Henry Silva]] plays a character in a story similar to The Guns of the Navarone. The difference is that the plot, in this case, is set in Norway. Our suicide commandos must blow up a heavily fortified German base located in the heart of a Norwegian fjord. Apart from the locations that are typically Mediterranean (Spanish or italic) and some other obvious historical facts, the plot, the photography and the music is well done. The film also has a decent thread of suspense. The story was written by a young Dario Argento, this is sufficient to raise the level of the film.
   
   
As celebrated by Tarantino's "Inglorious Bastards", instead traces the trend "The Dirty Dozen", where the usual rogues yankees combined all the colors of the German army, with the end to end then all the heroes.  
As celebrated by Tarantino's "Inglorious Bastards", instead traces the trend "The Dirty Dozen", where the usual rogues yankees combined all the colors of the German army, with the end to end then all the heroes.  
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Other titles dealt with themes of war with absolute seriousness, but Castellari's films are humorous and made up of double meanings, stereotypes and caricatures. I think it was this in particular attracted Tarantino, more than the plot itself. See other similar titles like ("Five to Hell", "The Seven Marsa Matrou", "The Guns Still Thunder"). The other titles you will find: "Kill Rommel!", "From Hell Ardennes", "The Battle of Sinai" (the only one that is not set in World War II, but during the Arab Israeli war, etc.).
Other titles dealt with themes of war with absolute seriousness, but Castellari's films are humorous and made up of double meanings, stereotypes and caricatures. I think it was this in particular attracted Tarantino, more than the plot itself. See other similar titles like ("Five to Hell", "The Seven Marsa Matrou", "The Guns Still Thunder"). The other titles you will find: "Kill Rommel!", "From Hell Ardennes", "The Battle of Sinai" (the only one that is not set in World War II, but during the Arab Israeli war, etc.).
   
   
For some people dated films may seem rather ridiculous. Compared to today's productions there is no blood splattering all over, there are no bad words, lack of sex scenes, and generally good win and the bad guys lose. No rhetoric, no psychological delusions or other philosophical interpretations.  
For some people dated films may seem rather ridiculous. Compared to today's productions there is no blood splattering all over, there are no bad words, lack of sex scenes, and generally good win and the bad guys lose. No rhetoric, no psychological delusions or other philosophical interpretations. For those like myself, these films will be viewed considering the historical context in which they were shot. Those were the years of the Italian economic boom (after the WWII), where women were emancipated and years of struggling youth at school or universities.


For those like myself, these films will be viewed considering the historical context in which they were shot. Those were years of the Italian economic “boom” (after the WWII), where women were emancipated, years of struggling youth at school or universities, in which the U.S. was of the coin, is to see the German, as the holiday all “beer” with its caravan spent his summer holidays on 'Adriatic sea!
Summing it up, it is sad to say that, while appreciating the efforts of producers, actors and directors, in the end there were more failures than successes. War, sci-fi and historical films need big enough budgets to manage weapons, uniforms, vehicles and locations.  
 
Summing up, it is sad to say that, while appreciating the efforts of producers, actors and directors in the end there were more failures than successes. As I never tire of saying, war movies, sci-fi and historical, films need enough budgets in proportion to manage weapons, uniforms, vehicles, locations.  
   
   
==CAST & ROLES==
==CAST & ROLES==
   
   
The actors in these films are the usual suspects of the "B" movies of the Italian period. People who have "dabbled" for years in the “spaghetti westerns”, “horror”, in “gialli”and “spy films”. Most were Italians under "false pretenses, some Teutonic transplants in Rome, others were retired from overseas.  
The actors in these films are the usual suspects of the B-movies of the 60s-70s Italian period. People who have dabbled for years in the spaghetti westerns, horror, gialli and spy films. Most were Italians under false pretenses, some Teutonic transplants in Rome, others were retired actors from overseas.  


To name a few, here: Henry Silva, George Hilton, Guy Madison, Frederick Stafford, Klaus Kinski, Horst Bucholtz, Anton Driffing, Ettore Manni, Ivan Rassimov, Ray Lovelock, Van Johnson, etc. Acting chameleons that, as required by the director are able to play rebel soldiers, the evil Nazi officers, playboy spys and deserters. A beautiful camouflage suit, a little fat in the face, a uniform of the SS, and you're done! Add to this some brown hair which may become a blonde, a monocle and a cigar, a machine gun, and is characterized by good character!
Some of the frequent names you'd see: Henry Silva, George Hilton, Guy Madison, Frederick Stafford, Klaus Kinski, Horst Bucholtz, Anton Driffing, Ettore Manni, Ivan Rassimov, Ray Lovelock, Van Johnson, etc. They were acting chameleons that, as required by the director were able to play all roles, rebel soldiers, the evil Nazi officers, playboy spys and deserters. A beautiful camouflage suit, a little fat in the face, a uniform of the SS, and you're done! Add to this some brown hair which may become blonde, a monocle and a cigar or a machine gun.
   
   
The German officer is always firm, resolute, uncompromising and honest (at times!), The American is always a no-good, light-hearted and a womanizer. English has always been that haughty and unwilling to humor, the Italian is the feel-good anti-militarist, and so on. A few dialogues, many orders, tight close-ups, phrases and circumstances of the attack by you go! Seen as the Martian from another planet, The German was the classic precise and evil.   
The German officer is always firm, resolute, uncompromising and honest (at times!) while The American is always a no-good, light-hearted womanizer. English soldiers have always been haughty and unwilling to laugh, the Italian is the good anti-militarist, and so on. A few words, many orders, tight close-ups, phrases and circumstances of the attack and there you go! Often seen as the "martian from another planet", The German Nazis were the epitome of evil.   


==DIRECTORS==
==DIRECTORS==
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==THE PLOTS==
==THE PLOTS==
   
   
With few exceptions, the plots often revolve around the usual "Dirty Dozen" types, the suicide commandos made up of villains, deserters, renegades, sons of bitches and whores! The objectives of this group of wretches are always the same: to blow up dams, fuel depots, stations, superguns or top secret military installations.  
With few exceptions, the plots often revolve around the usual "Dirty Dozen" types, the suicide commandos made up of villains, deserters, renegades, sons of bitches and whores! The objectives of these groups of wretches were always the same: to blow up dams, fuel depots, stations, superguns or top secret military installations.  
 
The enemy is also stereotyped as never before. The German army is always full of impeccable officers of the Wehrmacht or the SS. The soldiers often die like flies, mowed down by machine gun or shots from the cannon of the nefarious Yankees. The good (American or English) always win, the bad guys (Germans) lose, the Italians as usual...tie!


The enemy is stereotyped as never before. The German army is always full of impeccable officers of the Wehrmacht or the SS. The soldiers often die like flies, mowed down by machine gun or shots from the cannon of these nefarious Yankees. The good (American or English) always win, the bad guys (Germans) lose, the Italians as usual...tie!
In detail, I should mention [[Klaus Kinski]]] who often played an SS officer as cynical, insensitive and violent. Kinski also played the usual handsome American officer or the ugly and unsympathetic officer of Her Majesty the Queen.  


In detail, I should mention Klaus Kinski in the role of the SS officer. Cynical, insensitive, violent. Or the usual handsome American officer or the ugly and unsympathetic officer of Her Majesty the Queen. There is also room for a cameo appearance of our mistreated royal army. The Italian soldier is represented as a peaceful man who rejects war and thinks only of his wife and to save his skin. Not sure we shine for fighting...although in some episodes (see "The Battle of El Alamein", Ferroni) but are shown to be much better than the Germans. On a positive note, all of these films are filled with explosions, ambushes and chases in large quantities.  
The Italian soldier is represented as a peaceful man who rejects war and thinks only of his wife and to save his skin. In some episodes (see "The Battle of El Alamein") the Italians are shown to be much better than the Germans. On a positive note, all of these films are filled with explosions, ambushes and chases in large quantities.  
   
   
==MILITARY, FACILITIES & COSTUMES==
==MILITARY, FACILITIES & COSTUMES==
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A good war movie must have a decent budget. The uniforms of soldiers, weapons, tanks, planes, should try to resemble those of the time period. In these films the uniforms sometimes are invented with colors wrong. The ground transportation adaptations are almost always means the time (recently). For example Yugoslav tanks, Egyptian or Spanish, are miraculously transformed (with some tape and a little camouflage botched), into glorious "Tiger" German tank or "Sherman" American tank. The famous jeep willys of the U.S. or the Soviet become necessary German, Italian, English, French, etc..  
A good war movie must have a decent budget. The uniforms of soldiers, weapons, tanks, planes, should try to resemble those of the time period. In these films the uniforms sometimes are invented with colors wrong. The ground transportation adaptations are almost always means the time (recently). For example Yugoslav tanks, Egyptian or Spanish, are miraculously transformed (with some tape and a little camouflage botched), into glorious "Tiger" German tank or "Sherman" American tank. The famous jeep willys of the U.S. or the Soviet become necessary German, Italian, English, French, etc..  


One of the most famous details in these films are the use of airplanes. There often are static wooden models, radio controlled or wire-driven models used. In some cases, one sees the wires that support them! (see the launch of paratroopers in "Commandos"!). The dogfights are always represented with images from documentary footage or by using cockpits constructed with tight shots to recreate battles between swarms of German fighters and Americans.  
One of the most famous details in these films are the use of airplanes. There often are static wooden models, radio controlled or wire-driven models used. In some cases, one sees the wires that support them! (see the launch of paratroopers in Commandos). The dogfights are always represented with images from documentary footage or by using cockpits constructed with tight shots to recreate battles between swarms of German fighters and Americans.  
   
   
With regards to the trenches, prison camps or various military installations, all Italian ingenuity has fun in making dioramas on a small scale, or small pieces of wood in the prison camps (as in western movies), where, thanks to tightly framed cameras, they can become the "Stalag 17" or the general command of the Wehrmacht. Another flaw is represented by the partisans who, on paper, should be members of the French resistance, whereas in the reality of the film all appear as men from "Calabria and Sardinia" (!?) or, even worse criminals from Marseille! Sometimes, I must say, it borders on the grotesque.  
With regards to the trenches, prison camps or various military installations, all Italian ingenuity has fun in making dioramas on a small scale, or small pieces of wood in the prison camps (as in western movies), where, thanks to tightly framed cameras, they can become the Stalag 17 or the general command of the Wehrmacht. Another flaw is represented by the partisans who, on paper, should be members of the French resistance, whereas in the reality of the film all appear as men from Calabria and Sardinia or, even worse criminals from Marseilles! Sometimes, I must say, it borders on the grotesque.  


The few women who appear in the films seem straight out of the salon, with sophisticated hairstyles and makeup to go! Someone should explain me how to do the trick does not run in the face during the battle of Tobruk or the landing in Normandy!!  
The few women who appear in the films seem straight out of the salon, with sophisticated hairstyles and makeup to go! Someone should explain me how to do the trick does not run in the face during the battle of Tobruk or the landing in Normandy!!  


The last commentary is on the Italian war films set in the jungle during the Philippine American War. Japanese guys? we use a veil, it is much better. I'm just saying that mediterranean men are used to play the Japanese soldier. I'll leave you to draw the consideration of the value of these films! So bad!
The last commentary is on the Italian war films set in the jungle during the Philippine American War. Japanese guys? we use a veil, it is much better. I'm just saying that mediterranean men are used to play the Japanese soldier. I'll leave you to draw the consideration of the value of these films!
   
   
==THE LOCATIONS==
==THE LOCATIONS==
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==SOUNDTRACKS==
==SOUNDTRACKS==
   
   
Fortunately, Italy is full of great composers and performers. The music of these films are generally well done and epic whose melodies mingle with those of the spaghetti western or detective films. They highlight moments of tension, attacks, fights and chases. Then there are the moments more 'introspective and romantic, with the classic “boombastic” before the final credits. I should mention in this regard some of the names of the period, that the fans certainly recognize in other productions: Stelvio Cipriani, Carlo Rustichelli, Riz Ortolani, Bruno Nicolai. The procurement of these works, in my experience, is not easy, but if some enthusiast has the time and inclination to search for them, I think something can be found.
Fortunately, Italy is full of great composers and performers. The music of these films are generally well done and epic whose melodies mingle with those of the spaghetti western or detective films. They highlight moments of tension, attacks, fights and chases. Then there are the moments more 'introspective and romantic, with the classic “boombastic” before the final credits. I should mention in this regard some of the names of the period, that the fans certainly recognize in other productions: [[:Category:Stelvio Cipriani|Stelvio Cipriani]], Carlo Rustichelli, [[:Category:Riz Ortolani|Riz Ortolani]] and [[:Category:Bruno Nicolai|Bruno Nicolai]]. The procurement of these works in my experience is not easy, but if some enthusiast has the time and inclination to search for them, I think something can be found.


==TITLES==
==TITLES==
   
   
The genre was short, but quite prolific. Those who are interested in a vision, I recommend the following titles. Find the most of what I wrote, and if you have a clinical eye like myself, you will notice there are many shortcomings:  
The period of this genre was brief, but quite prolific. For those who are interested, I recommend the following titles. Read what I wrote, and if you have a clinical eye like myself, you will notice there are many shortcomings:  
   
   
*1. [[The Battle of El Alamein]], by Giorgo Ferroni  
*1. [[The Battle of El Alamein]] by Giorgo Ferroni  
*2. Battle Force, by Umberto Lenzi  
*2. Battle Force by Umberto Lenzi  
*3. Kill Rommel! by Alfonso Brescia  
*3. Kill Rommel! by Alfonso Brescia  
*4. [[Commandos]] by Armando Crispino  
*4. [[Commandos]] by Armando Crispino  
*5. [[Inglorious Bastards]] by Enzo G. Castellari  
*5. [[Inglorious Bastards]] by Enzo G. Castellari  
*6. The Battle of the Sinai, by Maurizio Lucidi  
*6. The Battle of the Sinai by Maurizio Lucidi  
*7. The Seven Marsa Matru, Mario Siciliano  
*7. The Seven Marsa Matru Mario Siciliano  
*8. [[Eagles Over London]] by Enzo G. Castellari  
*8. [[Eagles Over London]] by Enzo G. Castellari  
*9. [[From Hell to Victory]] by  Umberto Lenzi  
*9. [[From Hell to Victory]] by  Umberto Lenzi  
*10. The battle of the desert, by Mino Loy.  
*10. The Battle of the Desert by Mino Loy.  
*11. Zero probability, by Maurizio Lucidi  
*11. [[Zero Probability]] by Maurizio Lucidi  
*12. [[Churchill’s Leopards]] by Marcello Predaux  
*12. [[Churchill’s Leopards]] by Marcello Predaux  
*13. [[Five for Hell]] by Gianfranco Parolini  
*13. [[Five for Hell]] by Gianfranco Parolini  
*14. The Ardennes Hell by A. De Martino  
*14. The Ardennes Hell by A. De Martino  
*15. And the Cannons Thundered Again, by Sergio Colasanti  
*15. And The Cannons Thundered Again, by Sergio Colasanti  
*16. The Devils of war, by Adalberto Albertini  
*16. The Devils of War by Adalberto Albertini  
*17. That Damned patrol, by Roberto Montero  
*17. That Damned Patrol by Roberto Montero  
*18. Desert Assault, by Umberto Lenzi  
*18. Desert Assault by Umberto Lenzi  
*19. Heroes in Hell by Aristide Massaccesi  
*19. Heroes in Hell by Aristide Massaccesi  
*20. The battle of the last panzer by Jose Merin
*20. The Battle of the Last Panzer by Jose Merin


==AVAILABILITY ON DVD==  
==AVAILABILITY ON DVD==  
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==MY LAST OPINION==
==MY LAST OPINION==
   
   
The speeches made for all kinds of Italian "B" movies made in the 60s and 70s also apply to this sub-genre. These filmmakers tried to emulate the American giants with only shoestring budgets and lack of actors, technicians and equipment. Unfortunately, the popularity of the war film is a bit similar to that of science fiction. It requires big budgets to create weapons, locations, vehicles and uniforms. Without that, you run the risk of falling into the mediocre and ridiculous. However it is our duty to congratulate our Italian directors, the artisans of cinema that was (unfortunately...) made often under poor conditions but whose work was decent, honest and tried to give the audience what they wanted. In some cases, they succeeded, in most...unfortunately not.  
The speeches made for all kinds of Italian B-movies made in the 60s and 70s also apply to this sub-genre. These filmmakers simply tried to emulate the American classics with only shoestring budgets and lack of actors, technicians and equipment. Unfortunately, the war film is a bit similar to that of science fiction. In that it requires big budgets to create weapons, locations, vehicles and uniforms. Without that, you run the risk of falling into the mediocre and ridiculous. However it is our duty to congratulate the Italian directors, the artisans of cinema that (unfortunately...) made films under poor conditions but whose work was decent, honest and tried to give the audience what they wanted. In some cases, they succeeded, in most...unfortunately not.  


Written by Stefano Rossi - 11/24/12
Written by Stefano Rossi - 11/24/12

Revision as of 17:27, 26 November 2012

Inglorious bastards poster 01.jpg
1226128422 COMMANDOS.jpg
Salt in wound poster 01.jpg
Eaglesoverlondonpost.jpg
Fiveforhellposter.jpg
Helltovictory.jpg
Possibility zero 1969.jpg
Suicidecommandpost.jpg
Battlecommandos.jpg
Greatestbattlepost.jpg
Tigerjoe.jpg

THE DAWN

From this idiom coined by Quentin Tarantino, and aided by my teenage passion, I felt compelled to do a study on yet another "sub-genre" created by the Italian cinema in the 60s-70s, Macaroni Combat or rather...the Italian war movie!

This subgenre which was brought to light thanks to Inglourious Basterds by the American master Quentin Tarantino, it is a lesser known chapter of the Italian B-movies. The war films have never enjoyed enormous popularity in Italy because they were made to scrape together some money, especially with foreign distribution in poor countries, with little conviction on the part of the producers.

However, given that the undersigned, the genre has always loved, and on the net is very difficult to find about it, I decided to do this simple task to make them known for the lovers, the curious and all film fanatics!

INTRODUCTION

Macaroni Combat were Italian war films inspired by Hollywood films of the period, made to try to scrape together money and which used titles and plots from blockbusters made in the USA. All had seasoned actors aka "Italian yankees", often they were older "stars" whose popularity had faded.

As with the spaghetti westerns or the police genres, it rode the wave of success made in the USA. Instead of "The Dirty Dozen", "The Guns of Navarone" or "Battle of the Bulge", these were made in De Paolis (In Rome) or the Egyptian desert with titles such as: "And The Guns Still Thunder", "The Battle of El Alamein "," Commandos ","Eagles Over London”. The end result, with minor exceptions, were mostly 'modest.

THE FACTS

After this introduction, we look at every detail of these films (casts, locations, soundtracks, etc..), We'll try to understand where the birth of the genre started and the successes (or failures) it had.

As mentioned earlier, everything is born from the "vice" typically Italian of the time, to make some money with the imitation of the American blockbuster, in this case war and adventure. Movies like The Guns of Navarone, The Great Escape, Where Eagles Dare, The Bridge on the River Kwai etc. had been able to combine the traditional rules of war movies with adventure, romance and violence that raged so much in those years. This of course, had been very fruitful, like the colossal budgets, great actors, directors and senior technicians. In Italy, as for the others genres (western, detective, peplum, sci-fi, etc..), we wanted to ride this wave, but there was a small difference in terms of the budgets, the actors and directors (together with technicians) artisans, handyman.

I can only anticipate that Mr. Brescia, Castellari, Lenzi, Loy, Siciliano, Ferroni, etc tried to do their best with the arrangement. In spite of themselves, the success the films had was limited. Something valuable was lacking.

The Battle of El Alamein by Giorgio Ferroni uses a discrete Frederic Stafford (not new to Italian cinema) to tell the heroic resistance of italian paratroopers of the Folgore sandy hell of El Alamein. In this film there's several scenes of battle tanks and discrete locations in the desert. There's also relevant historical reconstructions and some war surplus original. Next, I would like to quote "The Battle of the Desert" by Mino Loy, who, using the usual plot of the patrol dispersed in the desert (recovery then in many other titles in the genre). As well as scenes of war, the film is an analysis of human relations between winners and losers. In the end, as in every war in that respect, a win is only death. There are beautiful scenes of action in desert environments. The film's poster is also gorgeous.

Another title that I enjoyed is Commandos, in which a great Lee Van Cleef, tries to "bastardize" war with moments of real tension like he did in the spaghetti westerns of Sergio Leone. How can we forget it, the exchange of glances between the spies and the spied upon, between those who deceive and the deceived? Close-ups that only the master Leone could do. I would also like to stress that this film is written by Menahem Golan, who in the 80s founded the film company Golan-Globus which featured the likes of Stallone, Norris, Schwarzenegger and Van Damme!!

In the film Zero Probability, a cold Henry Silva plays a character in a story similar to The Guns of the Navarone. The difference is that the plot, in this case, is set in Norway. Our suicide commandos must blow up a heavily fortified German base located in the heart of a Norwegian fjord. Apart from the locations that are typically Mediterranean (Spanish or italic) and some other obvious historical facts, the plot, the photography and the music is well done. The film also has a decent thread of suspense. The story was written by a young Dario Argento, this is sufficient to raise the level of the film.

As celebrated by Tarantino's "Inglorious Bastards", instead traces the trend "The Dirty Dozen", where the usual rogues yankees combined all the colors of the German army, with the end to end then all the heroes.

Other titles dealt with themes of war with absolute seriousness, but Castellari's films are humorous and made up of double meanings, stereotypes and caricatures. I think it was this in particular attracted Tarantino, more than the plot itself. See other similar titles like ("Five to Hell", "The Seven Marsa Matrou", "The Guns Still Thunder"). The other titles you will find: "Kill Rommel!", "From Hell Ardennes", "The Battle of Sinai" (the only one that is not set in World War II, but during the Arab Israeli war, etc.).

For some people dated films may seem rather ridiculous. Compared to today's productions there is no blood splattering all over, there are no bad words, lack of sex scenes, and generally good win and the bad guys lose. No rhetoric, no psychological delusions or other philosophical interpretations. For those like myself, these films will be viewed considering the historical context in which they were shot. Those were the years of the Italian economic boom (after the WWII), where women were emancipated and years of struggling youth at school or universities.

Summing it up, it is sad to say that, while appreciating the efforts of producers, actors and directors, in the end there were more failures than successes. War, sci-fi and historical films need big enough budgets to manage weapons, uniforms, vehicles and locations.

CAST & ROLES

The actors in these films are the usual suspects of the B-movies of the 60s-70s Italian period. People who have dabbled for years in the spaghetti westerns, horror, gialli and spy films. Most were Italians under false pretenses, some Teutonic transplants in Rome, others were retired actors from overseas.

Some of the frequent names you'd see: Henry Silva, George Hilton, Guy Madison, Frederick Stafford, Klaus Kinski, Horst Bucholtz, Anton Driffing, Ettore Manni, Ivan Rassimov, Ray Lovelock, Van Johnson, etc. They were acting chameleons that, as required by the director were able to play all roles, rebel soldiers, the evil Nazi officers, playboy spys and deserters. A beautiful camouflage suit, a little fat in the face, a uniform of the SS, and you're done! Add to this some brown hair which may become blonde, a monocle and a cigar or a machine gun.

The German officer is always firm, resolute, uncompromising and honest (at times!) while The American is always a no-good, light-hearted womanizer. English soldiers have always been haughty and unwilling to laugh, the Italian is the good anti-militarist, and so on. A few words, many orders, tight close-ups, phrases and circumstances of the attack and there you go! Often seen as the "martian from another planet", The German Nazis were the epitome of evil.

DIRECTORS

For the directors, as well as for the actors, the same holds true. In the genus have ventured all the artisans of the "B" movie made in Italy, no exceptions! Just to name names, we find: Brescia, Castellari, Lenzi, Massaccesi, Garrone, Ferroni, Siciliano, etc. Our "masters" of the genre, so to speak. All of them are people that can do the action on minimal budgets. They did it without problems of islands infested with zombies, shoot-outs to domestic banks, kidnappings, rapes, or barbarians or stellar battles in the cosmos. Despite low budgets all are able to offer action at will. There are also plenty of tank battles, chases, shootings, assaults by partisans, bombings, etc. Its also worth noting these films often combined genres. Some duels in the dunes of the desert had the flavor of the “spaghetti western”, spies in Normandy were similar to a 007 movie and so on.

THE PLOTS

With few exceptions, the plots often revolve around the usual "Dirty Dozen" types, the suicide commandos made up of villains, deserters, renegades, sons of bitches and whores! The objectives of these groups of wretches were always the same: to blow up dams, fuel depots, stations, superguns or top secret military installations.

The enemy is also stereotyped as never before. The German army is always full of impeccable officers of the Wehrmacht or the SS. The soldiers often die like flies, mowed down by machine gun or shots from the cannon of the nefarious Yankees. The good (American or English) always win, the bad guys (Germans) lose, the Italians as usual...tie!

In detail, I should mention Klaus Kinski] who often played an SS officer as cynical, insensitive and violent. Kinski also played the usual handsome American officer or the ugly and unsympathetic officer of Her Majesty the Queen.

The Italian soldier is represented as a peaceful man who rejects war and thinks only of his wife and to save his skin. In some episodes (see "The Battle of El Alamein") the Italians are shown to be much better than the Germans. On a positive note, all of these films are filled with explosions, ambushes and chases in large quantities.

MILITARY, FACILITIES & COSTUMES

A good war movie must have a decent budget. The uniforms of soldiers, weapons, tanks, planes, should try to resemble those of the time period. In these films the uniforms sometimes are invented with colors wrong. The ground transportation adaptations are almost always means the time (recently). For example Yugoslav tanks, Egyptian or Spanish, are miraculously transformed (with some tape and a little camouflage botched), into glorious "Tiger" German tank or "Sherman" American tank. The famous jeep willys of the U.S. or the Soviet become necessary German, Italian, English, French, etc..

One of the most famous details in these films are the use of airplanes. There often are static wooden models, radio controlled or wire-driven models used. In some cases, one sees the wires that support them! (see the launch of paratroopers in Commandos). The dogfights are always represented with images from documentary footage or by using cockpits constructed with tight shots to recreate battles between swarms of German fighters and Americans.

With regards to the trenches, prison camps or various military installations, all Italian ingenuity has fun in making dioramas on a small scale, or small pieces of wood in the prison camps (as in western movies), where, thanks to tightly framed cameras, they can become the Stalag 17 or the general command of the Wehrmacht. Another flaw is represented by the partisans who, on paper, should be members of the French resistance, whereas in the reality of the film all appear as men from Calabria and Sardinia or, even worse criminals from Marseilles! Sometimes, I must say, it borders on the grotesque.

The few women who appear in the films seem straight out of the salon, with sophisticated hairstyles and makeup to go! Someone should explain me how to do the trick does not run in the face during the battle of Tobruk or the landing in Normandy!!

The last commentary is on the Italian war films set in the jungle during the Philippine American War. Japanese guys? we use a veil, it is much better. I'm just saying that mediterranean men are used to play the Japanese soldier. I'll leave you to draw the consideration of the value of these films!

THE LOCATIONS

The environments that the filmmakers use in all these films are usually occupied France in 1944, and North Africa. In reality, however, the locations used are: Central Italy, a rural background, some abandoned quarry, the studies of De Paolis in Rome, Almeria in Spain and the Egyptian desert. To tell the truth for these last two options, the scenery and photography are well integrated with the historical context of the film, while for the former, the village of the Italian Apennines, or the farm. Its a 'wonder sometimes if some of the designers have really seen a beach in Normandy, a French farmhouse or in the Ardennes forests of Belgium. There are also the "handyman" abandoned quarries outside Rome, which are used for the Libyan desert, Cyrenaica or Tobruk!

POSTERS

The posters of these films are really well done. In addition to the names of the actors, who are presented as Hollywood super stars, theres artwork depicting great tanks battles, bombers and flocks of thousands of troops ready to land to conquer Europe. Unfortunately, with this trick which is typical of these productions, the an illusion is given. The viewer is then faced with poor environments, the usual tanks and armored vehicles recycled in different titles and uniforms of soldiers. I'm not an expert in graphic design and painting, but congratulations to the artists who made them.

SOUNDTRACKS

Fortunately, Italy is full of great composers and performers. The music of these films are generally well done and epic whose melodies mingle with those of the spaghetti western or detective films. They highlight moments of tension, attacks, fights and chases. Then there are the moments more 'introspective and romantic, with the classic “boombastic” before the final credits. I should mention in this regard some of the names of the period, that the fans certainly recognize in other productions: Stelvio Cipriani, Carlo Rustichelli, Riz Ortolani and Bruno Nicolai. The procurement of these works in my experience is not easy, but if some enthusiast has the time and inclination to search for them, I think something can be found.

TITLES

The period of this genre was brief, but quite prolific. For those who are interested, I recommend the following titles. Read what I wrote, and if you have a clinical eye like myself, you will notice there are many shortcomings:

  • 1. The Battle of El Alamein by Giorgo Ferroni
  • 2. Battle Force by Umberto Lenzi
  • 3. Kill Rommel! by Alfonso Brescia
  • 4. Commandos by Armando Crispino
  • 5. Inglorious Bastards by Enzo G. Castellari
  • 6. The Battle of the Sinai by Maurizio Lucidi
  • 7. The Seven Marsa Matru Mario Siciliano
  • 8. Eagles Over London by Enzo G. Castellari
  • 9. From Hell to Victory by Umberto Lenzi
  • 10. The Battle of the Desert by Mino Loy.
  • 11. Zero Probability by Maurizio Lucidi
  • 12. Churchill’s Leopards by Marcello Predaux
  • 13. Five for Hell by Gianfranco Parolini
  • 14. The Ardennes Hell by A. De Martino
  • 15. And The Cannons Thundered Again, by Sergio Colasanti
  • 16. The Devils of War by Adalberto Albertini
  • 17. That Damned Patrol by Roberto Montero
  • 18. Desert Assault by Umberto Lenzi
  • 19. Heroes in Hell by Aristide Massaccesi
  • 20. The Battle of the Last Panzer by Jose Merin

AVAILABILITY ON DVD

Thanks to the advent of e-commerce, the films I mentioned are not hard to find. As mentioned in the introduction they're certainly more easy to find editions in German, English, French, Spanish and Italian editions with the best prices. Do not expect great extras on the DVDs. At most there are a few photo galleries and biographies of actors and directors. Although the overall quality of images is poor, you could not expect more. If you have a good nose you’ll find them without problems.

MY LAST OPINION

The speeches made for all kinds of Italian B-movies made in the 60s and 70s also apply to this sub-genre. These filmmakers simply tried to emulate the American classics with only shoestring budgets and lack of actors, technicians and equipment. Unfortunately, the war film is a bit similar to that of science fiction. In that it requires big budgets to create weapons, locations, vehicles and uniforms. Without that, you run the risk of falling into the mediocre and ridiculous. However it is our duty to congratulate the Italian directors, the artisans of cinema that (unfortunately...) made films under poor conditions but whose work was decent, honest and tried to give the audience what they wanted. In some cases, they succeeded, in most...unfortunately not.

Written by Stefano Rossi - 11/24/12

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