The Battle of Algiers
A raw, docu-style war epic that plunges you into the heart of a revolution, its black-and-white visuals mirroring the stark moral complexities of the fight for freedom.
The Battle of Algiers
The Battle of Algiers

La battaglia di Algeri

"The Revolt that Stirred the World!"

08 September 1966 Italy 121 min ⭐ 7.9 (837)
Director: Gillo Pontecorvo
Cast: Brahim Hadjadj, Jean Martin, Yacef Saâdi, Fouzia El Kader, Mohamed Ben Kassen
Drama War History
Colonialism and Revolution The Cycle of Violence The Morality of Warfare Nationalism and Solidarity
Budget: $800,000
Box Office: $964,028

The Battle of Algiers - Ending Explained

⚠️ Spoiler Analysis

The plot of "The Battle of Algiers" follows a cyclical and ultimately tragic trajectory for its protagonists, reflecting the historical outcome of the specific 1957 battle. The film opens near the end of the timeline, in 1957, with a captured and tortured FLN member leading French paratroopers to the hiding place of Ali La Pointe. The narrative then flashes back three years to 1954 to trace Ali's rise from a petty criminal to a key FLN leader.

Under the strategic command of El-Hadi Jaffar, the FLN successfully consolidates its control over the Casbah and launches a devastating campaign of guerrilla warfare against the French. This culminates in a series of coordinated bombings in the European quarter, carried out by three women who disguise themselves as Europeans to bypass checkpoints. In response, the French government gives Colonel Mathieu and his paratroopers carte blanche to eradicate the FLN.

The film's second half details Mathieu's methodical and ruthless success. Using a pyramidal system of intelligence gathering built upon the systematic torture of captured suspects, the paratroopers slowly dismantle the FLN's cellular structure from the bottom up. One by one, the FLN leadership is captured or killed. Jaffar eventually surrenders to avoid a bloody siege, and Larbi Ben M'hidi is captured and later reported to have committed suicide, though the film implies he was executed. The climax returns to the opening scene's timeline, with Ali La Pointe and his last remaining comrades, including a woman and a young boy, cornered in their hideout. They refuse to surrender, and the French blow up the building, killing them all.

The film's powerful spoiler lies in its epilogue. Despite Mathieu's complete tactical victory in crushing the FLN's Algiers network, a title card announces "Two Years Later." The film then shows massive, spontaneous demonstrations and riots erupting in the streets in 1960, with the Algerian people, waving a new flag, demanding independence. This final sequence reveals the core meaning of the film: the French won the Battle of Algiers, but in doing so, they lost the Algerian War. They could eliminate the revolutionaries, but they could not extinguish the revolution itself, which had become ingrained in the collective consciousness of the people.

Alternative Interpretations

While the film is widely seen as sympathetic to the Algerian cause, its objective, newsreel style allows for multiple interpretations. One perspective is that the film is a straightforward anti-colonialist narrative, celebrating the revolutionary spirit and inevitable victory of an oppressed people.

Another interpretation, however, focuses on the film's stark portrayal of the brutal logic of both sides, suggesting it's less a piece of propaganda and more a grim meditation on the destructive nature of political violence itself. Some viewers and critics, particularly those on the right, have seen the film as a justification of terrorism, arguing it romanticizes the FLN's methods. Conversely, some on the left have criticized it for not being radical enough, as it gives significant screen time and intellectual weight to the arguments of the French Colonel Mathieu.

A more nuanced reading suggests the film is a complex study in pragmatism. Both Ali La Pointe and Colonel Mathieu are portrayed as intelligent, dedicated, and ruthless practitioners of their respective crafts. In this view, the film is not about good versus evil, but about the clash of two opposing, and tragically irreconcilable, wills, with the outcome determined not by moral superiority but by historical inevitability and the will of the masses.