The Great War

"The Great War" (La grande guerra) follows the story of two reluctant Italian soldiers, the crafty Roman Oreste Jacovacci (Alberto Sordi) and the loudmouthed Milanese Giovanni Busacca (Vittorio Gassman), during World War I. United by a complete lack of patriotic ideals and a shared, singular goal—to survive the war by avoiding danger at all costs—they form an unlikely friendship. Their journey takes them from bungled attempts to dodge conscription to the brutal reality of the trenches on the Austro-Italian front.

Through a series of episodes that swing expertly between comedy and tragedy, the film portrays the daily life of soldiers: the poor food, the grueling marches, the constant fear, and the small moments of camaraderie. The duo navigates the chaos, trying to outwit their superiors and stay away from the fighting, all while the horrors of war encroach upon them. Their relationship is tested, particularly through their interactions with the prostitute Costantina (Silvana Mangano) and their fellow soldiers, as they are forced to confront the grimness of their situation. The film eschews traditional heroic narratives, instead focusing on the perspective of the common, fearful man caught in a conflict far beyond his control.

At its heart, "The Great War" is a powerful anti-war statement that demystifies the rhetoric of heroism and patriotism. Director Mario Monicelli sought to portray the war not as a glorious struggle of nations, but as a "useless slaughter" from the perspective of the ordinary, unwilling participants. The film's core message is that in the face of mechanized death and indifferent command, the primary human instinct is survival, not sacrifice for abstract ideals. It critiques the nationalist propaganda that fueled the conflict by showing the reality of the trenches—a miserable existence where soldiers from different parts of Italy, with their own dialects and prejudices, are forged into a reluctant, suffering collective. Ultimately, the film suggests that true dignity and heroism can emerge unexpectedly, not from jingoistic fervor, but from a final, stubborn refusal to be dehumanized by the enemy, transforming cowards into martyrs in a moment of profound irony.

While the dominant interpretation sees the ending as a tragic and ironic transformation of cowards into heroes, some alternative readings exist. One perspective suggests that Giovanni's final act is not one of newfound patriotism but the ultimate expression of his lifelong anti-authoritarianism. His defiance is aimed less at the national enemy and more at the arrogant officer who personifies the oppressive authority he has always despised. In this view, he dies as a rebel, not a patriot.

Another interpretation focuses on the film as a commentary on the Italian national character ('italianità'). From this angle, the protagonists' journey from self-serving individualism to an involuntary, fatal act of collective dignity is a metaphor for Italy itself. The film could be read as a cynical yet ultimately affectionate portrayal of a nation that, despite its perceived flaws of cynicism and disunity ('furbizia'), possesses an underlying, albeit deeply buried, sense of honor that emerges only under extreme duress. Their heroism is not planned or ideological but instinctual and accidental, a reflection of a national character that resists simple definitions of heroism or cowardice.

"The Great War" marked a watershed moment in Italian cinema and the nation's collective memory of World War I. Released in 1959, it was the first film to radically challenge the sanitized, heroic mythology of the war that had been propagated by Fascist and post-war nationalist rhetoric. By adopting the lens of 'Commedia all'italiana' (Italian-style comedy), director Mario Monicelli created a new language for war films, blending sharp comedy with profound tragedy to depict the conflict from the ground up. This approach, focusing on the anti-heroic, fearful common soldier, was controversial but deeply resonant.

The film was a massive critical and commercial success, winning the Golden Lion at Venice and earning an Oscar nomination. Its influence was immense, paving the way for a more critical and realistic representation of history in Italian cinema. It directly confronted the notion of a unified, patriotic Italy, instead showing a country of disparate regions and dialects thrown together in the trenches, forging a national identity through shared suffering rather than shared ideals. The performances of Alberto Sordi and Vittorio Gassman as the cowardly protagonists became iconic, embodying a cynical but deeply human response to the absurdity of war. The film's final, ironic twist—where two slackers die as unknown heroes—became a powerful statement on the anonymous, unglamorous nature of sacrifice, leaving an indelible mark on Italy's cultural understanding of its past.

Audiences largely embraced "The Great War," making it a significant commercial success both in Italy and abroad, particularly in France. Viewers praised the brilliant performances by Alberto Sordi and Vittorio Gassman, whose comedic chemistry brought a deep humanity to their anti-heroic characters. The film's ability to balance humor with the stark, tragic reality of war was widely lauded, with many finding the approach to be a refreshing and honest departure from traditional, flag-waving war movies.

However, the film was not without its critics. Upon its premiere, some criticized it for not being somber enough, arguing that the use of comedy was disrespectful to the memory of the soldiers. It also faced significant backlash from military and nationalist circles in Italy who felt the depiction of Italian soldiers as cowardly, undisciplined shirkers was insulting and unpatriotic. Despite these controversies, the overwhelming audience verdict was positive, as the film's portrayal of ordinary men trying to survive an extraordinary catastrophe resonated deeply and felt more truthful than any sanitized, heroic epic.