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To Be Twenty in the Aures (1972)
"Avoir 20 ans dans les Aurès" (original title)

 |  Drama, War  |  12 May 1972 (France)
7.0
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Ratings: 7.0/10 from 140 users  
Reviews: 5 user | 4 critic

How to become a killing machine in Algeria when, at the start, you are a Pacifist Breton. Let Lieutenant Perrin deal with this bunch of rebels and make them "true soldiers", who know how to... See full summary »

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Cast

Complete credited cast:
Alexandre Arcady ...
Noël (as Arcady)
Hamid Djellouli ...
Youssef
Philippe Léotard ...
Le lieutenant Perrin
Jacques Canselier ...
Coco (as Jacques Cancelier)
Jean-Michel Ribes ...
Le curé
Alain Scoff ...
Le soldat Lomic
Jean-Jacques Moreau ...
Jacques (as J. Jacques Moreau)
Michel Elias ...
Robert
Yves Branellec ...
L'instituteur
Philippe Brizard ...
La Marie
Charles Trétout ...
Charles
Pierre Vautier ...
Pierrick
Alain Vautier ...
Lanick
Bernard Ramel ...
Nanard
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Storyline

How to become a killing machine in Algeria when, at the start, you are a Pacifist Breton. Let Lieutenant Perrin deal with this bunch of rebels and make them "true soldiers", who know how to shoot, who know how to torture, who know how to kill. Only Noël resists, only Noël tries to do something to put an end to this folly... Written by Guy Bellinger

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algerian war | See All (1) »

Genres:

Drama | War

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Release Date:

12 May 1972 (France)  »

Also Known As:

Att vara tjugo år i Aurès-bergen  »

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(Eastmancolor)
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Did You Know?

Soundtracks

Bien le bonjour, mon Lieutenant
Written by René Vautier
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User Reviews

 
A rare achievement
20 April 2001 | by (Los Angeles, CA) – See all my reviews

A rare cinematic achievement and a courageous picture, one of the very few fictions in French cinema to address directly the Algerian war and colonial army practices such as rape and torture. The film looks semi-improvised, but the story is still very strong, centered on the fascistic officer played by a young, believable Philippe Léotard. Director Rene Vautier spent years in Algeria during the war fighting on the side of justice, and everything here feels completely authentic. Moving songs (by Pierre Tisserand), poignant desert landscapes, and a modest and deeply effective sense of what is right and what is wrong add to this underrated masterpiece.


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