The Battle of Algiers 1966

The Battle of Algiers opens in 1957 in Algiers, where the French Army raids Ali La Pointe, Brahim Hadjadj’s hideout after a captured comrade reveals its location, and the soldiers declare that the “organization” is finished. The opening shock gives way to a stark return to 1954, setting the stage for a deeply human, if brutal, portrait of a city at war. The film then unfolds as a careful reconstruction of the years between November 1954 and December 1957, a period when the Casbah becomes a tinderbox of revolutionary energy and violent countermeasures.

The narrative follows the rise of revolutionary cells in the Casbah and the escalating clash between Algerian militants and a colonial power determined to crush them. The FLN leadership is personified by El-Hadi Jafar, Yacef Sadi, a veteran commander who recruits and mentors Ali La Pointe, guiding him from a life of petty crime to political militancy. The French response is led by Lieutenant-Colonel Philippe Mathieu, Jean Martin, whose paratroopers are shown using a relentless, often brutal strategy aimed at neutralizing the FLN’s leadership and crippling the insurgency.

Across these struggles, the film introduces a spectrum of real-world tactics and moral ambiguities. The FLN’s guerrilla operations are depicted with urgency, including the swift, sometimes summary justice they mete out to criminals and suspected collaborators who populate the Casbah’s shadows. In counterpoint, the French counterinsurgency deploys coercive measures, torture, and hard-handed authority in attempts to restore order. The result is a searing, unflinching look at violence on both sides, underscored by a sense that the cost of war falls most heavily on civilians caught in the crossfire.

Among the key figures who drive the story, Ali La Pointe stands as the central arc—an embittered youth transformed by imprisonment into a committed revolutionary, under the guidance of El-Hadi Jafar. The inner circle expands with the inclusion of important characters like Little Omar, a streetwise boy and FLN messenger who carries messages through the maze-like Casbah, and Larbi Ben M’hidi, a top FLN leader whose political rationale anchors the rebellion’s aims. The film also follows brave female urban guerrillas such as Djamila, Zohra, and Hassiba, who participate in high-stakes actions that illustrate the broader social dimension of the conflict. Although the cast emphasizes a broad ensemble, it is the human decisions, loyalties, and sacrifices of these figures that animate the drama.

Pontecorvo and Solinas give the Casbah a living, chorus-like presence, using thousands of Algerian extras to evoke a neighborhood that breathes with the sounds of chanting, protest, and everyday life. The scene-work invites viewers to witness the texture of life under siege—the roadblocks, the hideouts, the slow unraveling of a community under pressure—without bias, presenting the conflict with a stark, documentary-like clarity. The film also dramatizes iconic moments, including terrorist actions that aimed to destabilize European presence in Algiers, and the brutal countermeasures that followed, painting a city where moral lines blur and survival often overrides idealism.

In its coda, the film returns to the urban tumult of nationalist demonstrations and riots, suggesting a paradox at the core of the conflict: while France may have won the Battle of Algiers on the ground, the broader Algerian War remains unresolved and ultimately lost in the eyes of many who suffered through it. The closing images linger on a city in motion, a people still searching for self-determination, and a conflict whose consequences reverberate far beyond the street battles that opened and closed the narrative.

The Battle of Algiers is a meticulously crafted, morally complex study of revolution and counterrevolution, where the lines between heroism and brutality are constantly tested, and where the human cost of political struggle is laid bare in unflinching detail.