There exist various versions of this film – running anywhere between 102 and 175 minutes; the one I watched, dubbed in Italian, was itself around 142 – although the official Italian print is actually 134 minutes long! Over the years, I had missed out on a couple of occasions to watch this – both on Italian and local TV, as well as a VHS rental. Given its title and roster of established international movie stars – Yul Brynner, Curd Jurgens, Sylva Koscina, Hardy Kruger, Franco Nero and Orson Welles – one could be forgiven for mistaking it as yet another WWII-set Hollywood epic a' la THE LONGEST DAY (1962) and BATTLE OF THE BULGE (1965). Consequently, its eventual nomination for Best Foreign Language Film Academy Award proves at first suspect and highly surprising but, in hindsight, well deserved since the film is actually a big-budget co-production between Yugoslavia, West Germany, Italy and even the U.S.A.
While the film is mostly distinguished by the fact that it features an impressive array of battle sequences which must surely be counted among the most spectacular of its era, it must also be said that it takes care and time to show the effects that constant warfare has on the behavior of human beings: an explosives expert (Brynner) is renounced and spat at by his own people when he is forced to destroy their only way back home to stop the advancing troops; two blind men leading each other during an airborne attack are led by the sound of another man's voice already taking cover; a partisan is driven crazy when stricken by typhus; a proud Italian general (Anthony Dawson) commits suicide in a shabby room where he is held in captivity by the partisans; an Italian captain (Nero) deserts his side to join the ranks of the partisans and is taken under his wing by an artillery officer (Sergei Bondarchuk); a brother and a sister (Koscina), both members of the Yugoslav partisans, die together when hugely outnumbered during a deadly encounter with a band of long-haired renegade Chetniks led by a hesitant senator (Welles)!; a German captain (Kruger) comes to respect the determination of his enemies during combat, etc.
Despite the various strands of plot touched upon and the multitude of major and minor characters involved, the unknown director weaves a clear and expansive picture of the river Neretva conflict – at least in the version I saw; one can only wonder what an incoherent mess the shorter versions (some of them accompanied by a new score by Bernard Herrmann, no less) must have been! Incidentally, in spite of that afore-mentioned Oscar nod, THE BATTLE OF NERETVA is still highly undervalued today – no doubt, its reputation is lost among the countless WWII actioners made both by Hollywood and Euro-Cult film-makers during the 1960s and 1970s.
While the film is mostly distinguished by the fact that it features an impressive array of battle sequences which must surely be counted among the most spectacular of its era, it must also be said that it takes care and time to show the effects that constant warfare has on the behavior of human beings: an explosives expert (Brynner) is renounced and spat at by his own people when he is forced to destroy their only way back home to stop the advancing troops; two blind men leading each other during an airborne attack are led by the sound of another man's voice already taking cover; a partisan is driven crazy when stricken by typhus; a proud Italian general (Anthony Dawson) commits suicide in a shabby room where he is held in captivity by the partisans; an Italian captain (Nero) deserts his side to join the ranks of the partisans and is taken under his wing by an artillery officer (Sergei Bondarchuk); a brother and a sister (Koscina), both members of the Yugoslav partisans, die together when hugely outnumbered during a deadly encounter with a band of long-haired renegade Chetniks led by a hesitant senator (Welles)!; a German captain (Kruger) comes to respect the determination of his enemies during combat, etc.
Despite the various strands of plot touched upon and the multitude of major and minor characters involved, the unknown director weaves a clear and expansive picture of the river Neretva conflict – at least in the version I saw; one can only wonder what an incoherent mess the shorter versions (some of them accompanied by a new score by Bernard Herrmann, no less) must have been! Incidentally, in spite of that afore-mentioned Oscar nod, THE BATTLE OF NERETVA is still highly undervalued today – no doubt, its reputation is lost among the countless WWII actioners made both by Hollywood and Euro-Cult film-makers during the 1960s and 1970s.