| Arthur Kennedy | ... | Ferro Maria Ferri | |
| Zhanna Prokhorenko | ... | Katya | |
| Raffaele Pisu | ... | Gabrielli | |
| Tatyana Samojlova | ... | Sonya | |
| Andrea Checchi | ... | Sermonti | |
| Riccardo Cucciolla | ... | Sanna | |
| Valeri Somov | ... | Giuliani | |
| Peter Falk | ... | Medic Captain | |
| Nino Vingelli | ... | Amalfitano | |
| Lev Prygunov | ... | Bazzocchi | |
| Grigory Mikhaylov | ... | Russian Partisan (as Grigorij Mikhailov) | |
| I. Paramonov | ... | German Deserter | |
| Gino Pernice | ... | Collidi | |
| Boris Kozhukhov | ... | Major | |
| Vincenzo Polizzi | ... | Sicilian | |
| Sergei Lukyanov | ... | Partisan Commander (as S. Lukyanov) | |
| I. Paramarov | ... | Hidden German | |
| Yuriy Nazarov | ... | Russian Prisoner | |
| Ervin Knausmyuller | ... | German General (as E. Knausmyuller) | |
| Otar Koberidze | ... | Wounded Italian | |
| Yan Yanakiyev | ... | Doctor | |
| Anatoli Sakhnovsky | |||
| Elza Lezhdey | |||
| Danuta Stolyarskaya | |||
| Lavrenti Masokha | |||
| Nina Nikitina | (as N. Nikitina) | ||
| Yuri Kaberdaze | ... | Russian Prisoner | |
| Franco Morici | |||
| Pasqualino Ferri | |||
| Mario Annibali | |||
| Alvaro Ceccarelli | |||
| Livia Contardi |
Directed by | |||
| Giuseppe De Santis | |||
Writing credits(in alphabetical order) | ||
| Ennio De Concini | ||
| Giuseppe De Santis | ||
| Augusto Frassinetti | ||
| Gian Domenico Giagni | ||
Produced by | |||
| Lionello Santi | .... | producer | |
Original Music by | |||
| Armando Trovajoli | |||
Cinematography by | |||
| Antonio Secchi | |||
Film Editing by | |||
| Klavdiya Moskvina | (as Claudia Moskvina) | ||
| Mario Serandrei | |||
Art Direction by | |||
| Ermanno Manco | |||
Costume Design by | |||
| Luciana Marinucci | |||
Production Management | |||
| Luigi Millozza | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Romolo Guerrieri | .... | assistant director (as Romolo Girolami) | |
| Dimitri Vassiliev | .... | second unit director | |
Sound Department | |||
| Fausto Ancillai | .... | sound mixer | |
| Sergio Marcotulli | .... | sound mixer | |
| Nino Renda | .... | sound mixer | |
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| Captain Corelli's Mandolin | Mediterraneo | The Battle of Neretva | Ich war neunzehn | The Man Who Will Come |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Italy section |
I remember seeing this movie (Attack and Retreat) as a kid back in the seventies. There are many, many images which have stuck in my mind from this film: The young soldier and girl in the vast sunflower field, the lone Russian tank mowing down Italian troops in a Russian town, Soviet cavalry charging over the snow fields, "Stalin's Organs" rocket launchers filling the skies with fire, a good-natured chase to get to a dead snow rabbit in no-man's land, all this after 30 years!
I recently bought the video of this film, and forgot how good it really is. The best thing about it is the subject matter. One-it is a war film Two-it lacks a sappy romance angle Three-it deals with the Russian Front and Four-it deals with the Italian Army on that front.
Strikes against it (only from a modern film viewers point of view, not mine) One-it was done in Italian, then over-dubbed in English Two-it is, after all, a war film without sappy romance and Three-it is in black and white.
The feeling of loneliness, fear, panic, and desolation come out well in this movie. I can easily imagine the story of these men on the Russian front as having been real...it was as if the director himself had been there (not sure if he was). No character is expendable in this film (as it should be in a war film), so the fear of danger for each character is always there (much like Remarque's All Quiet on the Western Front). The viewer is made to feel close to these men, because they are shown as being good, decent men caught in a huge man-destroying machine called the Eastern Front. The director shows much disdain for the German allies, portrays the Spanish allies as being rather silly running around with their banner even when the Earth was crashing down around them, and shows much respect for the Soviet soldiers, almost admiration. Pro-communist sympathy from a 1960's Italian director should be far from surprising. Even the characters liked the Internationale. One soldier liked to play it on his harmonica, and near the end two of them are whistling it. The Black Shirt "elite troops" were shown as thieves, cowards, and rapists. The average Italian soldiers were portrayed as victims along with the Russians.
One interesting thing about the film was the appearance of Peter Falk as an Italian Army surgeon/playboy, about ten years before he became better known as the TV character Columbo.