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Author Topic: Operación Ogro (1979)  (Read 4152 times)
O'Cangaceiro
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« on: October 16, 2008, 12:23:59 PM »

Moved to the "off topic section" as per popular request.  Cheesy

« Last Edit: October 16, 2008, 12:52:25 PM by Bandolero » Logged
The Firecracker
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« Reply #1 on: October 16, 2008, 12:46:15 PM »

If you can move it to the off topic section I could add it to the index.

Again, I'm not a stickler for non-westerns being put in the "other films" section but some spoiled sports (I won't name any names but the member's alias rhymes with Dave Stinkens Cheesy) will have a problem.

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O'Cangaceiro
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« Reply #2 on: October 16, 2008, 12:50:26 PM »

http://www.imdb.com/title/tt0079655/

Based on the novel from Julen Aguirre of the same title, Operación Ogro is a movie about the assassination of the Spanish Prime Minister Admiral Luis Carrero Blanco in 1973, which was carried by a group of members of the Basque terrorist group ETA. Amongst the more than 800 senseless murders committed by ETA since it started its terrorist activities, perhaps the assassination of Admiral Carrero Blanco is the only one that qualifies as having a political connotation. In fact, it changed the course of the Spanish History, as Admiral Carrero Blanco was expected to be General Franco’s successor and the one who would have perpetuated his military totalitarian regime.

This movie is brilliantly directed by Gillo Pontecorvo and the acting by Gian Maria Volonte and José Sacristán, Eusebio Poncela, Angela Molina and others is excellent. The score from Ennio Morricone is also very good, though not exceptional. The movie is also historically accurate, and it has many moments of tension.
8 out of 10 would be my score.

http://www.youtube.com/watch?v=vYtE5upo8Ew

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O'Cangaceiro
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« Reply #3 on: October 16, 2008, 01:03:44 PM »

If you can move it to the off topic section I could add it to the index.

Again, I'm not a stickler for non-westerns being put in the "other films" section but some spoiled sports (I won't name any names but the member's alias rhymes with Dave Stinkens Cheesy) will have a problem.

Sorry, I thought that having Gian Maria Volonte as actor and Il Maestro Morricone as music composer should be sufficient to have a topic about this film in this thread. Didn't we also have here Queimada-Burn, a non-western by the same director and composer anyway??

http://www.fistful-of-leone.com/forums/index.php?topic=1339.0

Oh well, the last thing I want to do is to offend any of our sensitive Guardians of the Forum Evil, so the topic has been moved as requested (though I must say I do not agree with the reasoning behind the request).....  Sad

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The Firecracker
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« Reply #4 on: October 16, 2008, 01:06:56 PM »

Sorry, I thought that having Gian Maria Volonte as actor and Il Maestro Morricone as music composer should be sufficient to have a topic about this film in this thread. Didn't we also have here Queimada-Burn, a non-western by the same director and composer anyway??

http://www.fistful-of-leone.com/forums/index.php?topic=1339.0

Oh well, the last thing I want to do is to offend any of our sensitive Guardians of the Forum Evil, so the topic has been moved as requested (though I must say I do not agree with the reasoning behind the request).....  Sad


I didn't know Burn escaped. I'll have to take that up with whoever started the thread.

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« Reply #5 on: October 16, 2008, 01:15:34 PM »


I didn't know Burn escaped. I'll have to take that up with whoever started the thread.

Yup, it seems that Burn escaped the "Burn"  Cheesy. However, I think you may have a hard time capturing "General Sibley", for according to his profile he has been MIA since  September 13, 2005, 07:59:33 PM.  Wink

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The Firecracker
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« Reply #6 on: October 16, 2008, 01:22:11 PM »

Yup, it seems that Burn escaped the "Burn"  Cheesy. However, I think you may have a hard time capturing "General Sibley", for according to his profile he has been MIA since  September 13, 2005, 07:59:33 PM.  Wink

There is always the mods to go to.
Again, I'm not in charge of this silly rule.
I'm only concerned with putting this up on the "Movie Index".

« Last Edit: October 16, 2008, 01:27:04 PM by The Firecracker » Logged



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« Reply #7 on: October 16, 2008, 01:23:24 PM »

There is always the mods to go to.
Again, I'm not in charge of this silly rule.
I'm only concered with putting this up on the "Movie Index".

No offence taken, just pulling your leg (and others').  Hope you don't mind. Wink

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« Reply #8 on: October 16, 2008, 01:27:19 PM »

No offence taken, just pulling your leg (and others').  Hope you don't mind. Wink

Not at all. Evil

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« Reply #9 on: October 21, 2009, 10:57:12 PM »

Prepare for a bittah hahvest... Wintah has come at LAST!

Quote
Ogro (1979) is the third Gillo Pontecorvo film I've seen, after the brilliant Battle of Algiers and the disappointing Burn! Pontecorvo again deals with the politics and harsh realities of terrorism and revolution, but in a more subdued manner than above-named films. Unfortunately, Ogro is also a bit too obvious and slow compared to his previous works, and suffers as a result.

In 1973, Spain is still under the thumb of Generalissmo Francisco Franco, the Fascist dictator who has ruled the country since 1939. Still, most knowledgable Spaniards know he hasn't long to live, and his equally repressive right-hand man Carrero Blanco (Agapito Romo). A cell of the ETA, a Basque terrorist organization, has decided to kidnap Blanco and hold him for ransom. The hot-headed revolutionary Txabi (Eusebio Poncela) strongly urges assassination; the more cool-headed Izarra (Gian Maria Volonte) argues that Blanco is worth more dead than alive. When their leader Yoseba (Feodor Atkine) is gunned down by Spanish police, and when Blanco is promoted to Prime Minister, kidnapping is no longer feasible; they must assassinate him.

Ogro does a fine job of examining the role and importance of terrorism in a revolutionary movement. Spain was a country that, despite its repressive government, was fairly prosperous under Franco's rule; thus, there was little popular call for revolution, and it took the actions of extremists like the ETA, working for their own cause (independence for the Basque minority) to affect social change. Certainly the ETA cannot claim to be acting for the majority of Spaniards, and yet their actions positively benefit the country as a whole. The assassination of Blanco arguably opened the door for Spain's post-Franco democratization, so it can certainly be seen as justified, even heroic. But with a goal - the removal of Franco's henchman - achieved, should it be used for another - Basque independence?

Pontecorvo shows a degree of thoughtful nuance in dealing with this issue. Terrorism may be the only way to fight against a Fascist dictatorship, but is it the right way to act in a democratic society? In this regard, Pontecorvo seems to have mellowed from the Marxism of his earlier films; although he acknowledges the shortcomings of violence in those movies, he ultimately embraces the violence as a necessary evil. Here, he questions whether it is always necessary - that in a pluralistic society, patience and peaceful protest are more likely to succeed. To be fair, though, French Algeria and Quemada were not regimes where peaceful protest was likely to bear fruit.

Unfortunately, Pontecorvo's film lacks the visceral power of Algiers, for a number of reasons. The film's pace often flags during the preparation scenes, which is interesting at times, but occasionally tedious. The Txabi-Izarra conflict is underdeveloped and pretty rote, and the supporting cast are virtually non-existent as characters. Perhaps more of a problem are the overly-obvious political sentiments. The lame flashback device, with Txabi continuing his violence ways while Izarra has moved on to peaceful protest, is a waste; its message about peaceful versus violent methods is obviously stated, and seems tacked on and underdeveloped. Indeed, the film's message is generally stated less elegantly than in Algiers, even though the message - that terrorism is only useful up to a point - is certainly one worth considering.

Pontecorvo's direction is on a larger scale than Algiers, although it retains the basic cinema verite style. The movie's shots of the meticulous terrorist preparations put one in mind of Day of the Jackal - and the climax is certainly a highly suspenseful sequence. Ennio Morricone contributes a fairly low-key and unremarkable music score. Gian Maria Volonte, Eusebio Poncela, Feodor Atkine, Jose Sarcristan and Saverio Marconi all give strong performances as the ETA men.

If Ogro lacks the immediacy of Algiers, it's still far superior to the muddled Burn!, and worth a look for anyone who enjoyed Pontecorvo's other works.

7/10

http://nothingiswrittenfilm.blogspot.com/2009/10/ogro.html

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