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1927–1954  from

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across Europe!  

 

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Giarabub

 

 

Newspaper review in the Third Reich  for the

Berlin premiere of   Giarabub :

 

The Last of  Giarabub / Astor Cinema.  -  3 March 1943, Film-Kurier Tageszeitung,  Pg.2


The heroism of the days at Giarabub has received its memorial in this film work. It is the heroism of the quiet, tough, gesture–less, and of course,  fulfilment of duty; whose greatness is spoken of and by others, but which itself speaks every word.

It is a powerful and impressive picture out of the happenings of this war, an example of the great battles in all parts of the world which has already made history. The heroic defenders of Giarabub have given testimony to imperishable soldiery, they have died in the knowledge of the certainty of their sacrifice; and live in the story as the true victors in this unforgettable episode in the history of this, the greatest, of all wars.

Goffredo Alessandrini’s film work is a feature film which has the character of a great documentary film.

It shows in a reportage–like action the last days of the siege of  the desert fortress Giarabub.


It doesn't take a lot of words to bring the firm togetherness of leadership and men in order to make the harmony of the hearts ready for sacrifice felt. The fighters of Giarabub belong to those men, who keep calm to the last hour, in whom the strength is perceived, in which you can see the force that carries and moves it. A chain of episodes is juxtaposed into one image of relentless, tough, silent heroism. There are episodes that shed light on the respective situation of all of Giarabub's fighters as well as the men's individual characters.

They stand before us: The Major Ferro: hard, soldierlike – but behind that is perceived the heart of a man  – who is closely connected with each of his soldiers matter-of-factly.  Noticeable, for example, when in the corridor through the rows of resting men, he writes for two soldiers, two brothers, a greeting in the field post letter to their father.  ––  a word, in which the whole manner of this man speaks — Further, there is the Captain del Grande, who was transferred to Giarabub at his request — his son had been killed in defence of the fortress. The loss that the father suffered is barely spoken of amongst the men - but the suffering and at the same time the commitment of the father is honoured by them — that is the finest observation, that is the smallest gesture,  in the almost inconspicuous expression, so often the big picture becomes visible and draws attention to the posture that gives the film its stamp.

In this film about men a woman surfaces; at first seemingly unmotivated, which lasts almost all too long, as if this character was brought into the film quite arbitrarily and had no justifiable dramatic function — only to discover at the high point of events, that this figure is justified as she is transformed into a helper at the side of wounded soldiers.

Amongst the film script authors one finds the well-known Italian playwright Gherardo Gherardi, who together with the Director and Author A. Gravelli developed the idea of the film; O.Biancoli, O. Vergani, G.G.Napoletano and A.Consiglio gave the script dramatic shape -- a captive witness to great contemporary experience.

Goffredo Alessandrini, the Director, always gives the hard realism of war to the scenes, the character of the film, which speaks the language of facts, the language of documents. Praise that also includes the camera work by Giuseppe Caracciolo and Livio dell’Aglio.

Carlo Ninchi (Major Ferro), Mario Ferrari (Hauptmann del Grande), Nico Pepe, Elio Steiner, Corrado de Cento (who plays a character standing in twilight, who at the probationary hour plays his man brilliantly), Erminio Spalla (a practical, better educated and cheerful Sergeant), Carlo Romano (as a Private), Annibale Betrone (as a Doctor), each in his own pronounced idiosyncrasy which one does not forget. Doris Duranti plays the only female role in the film.

The German language version of the Hispano-Film-Production is characterised by authenticity of the words, which one could think of none  different and none better, and none more appropriate to the character of the film work. The words date back to the outstanding formulated, realistically short dialogue of Gerti Over and C.W. Burg; the production management of German language versions, in the hands of C.W. Burg, who, with unusual artistic empathy, makes it possible for us to never really feel the means of synchronisation as a stopgap.

The film, which leaves behind a powerful enduring impression, originated under the collaboration of the Italian Africa Ministry, and the War and Air Force Ministries.

Production:  Scalera-Era-Film
Distributor: DIFU.
Length: 2924 meters
State-political valuable.
Suitable for young people.
Suitable for holiday screenings.
Censorship #58471 at 25.1.1943

 

Below, the opening credit title card from the film.

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More information on this film is available if you click on the Poster Gallery image of each poster and read the accompanying material at the top of the poster page (from our Collection.)

 
Year
1942
 
Director
Alessandrini
 
Country
Italy