"What a shit all this war is." ? The prolific director Leon Klimovsky, who once moved from his native Argentina to European Spain, did not hesitate to take up any popular genre. That's just the real high achievements in the form of two Golden shells of the film festival in San Sebastian remained in the 50s, and then began unrestrained stamping of operational tapes to the demand of the most undemanding tastes.
Their quality at the same time fluctuated from average to ugly, but even this Klimovsky, by his own admission, consciously switched to the path of a hack, absolutely did not bother. Westerns are so Westerns, Jallo so Jallo, horrors so terrible, well, on the list. It is no wonder that in this many times desiccated assortment there was a place and the problems of war in the style of the very “warsploitation”.
For these reasons, the stuck between the next “spaghetti” film “Bridge on the Elbe” initially causes deep distrust, exacerbated by the beaten since the “Dirty Dozen” Aldrich with the misadventures of a motley American sabotage group, which also received, let’s say, a peculiar task, taking into account the interests of the opposing camps.
But something continues to hold on to the screen, until you realize that the spectacle has an ill-gotten intrigue that makes you delve into it more than a lousy walker could demand. Had Klimovsky not had reliable help, it would most likely have come out, but the situation is saved by the beautiful Italian screenwriter Adriano Bolzoni, known for the cult “For a handful of dollars” Leone, and who knows how to give banality a tempting taste.
With the participation of two more co-authors and not too clumsy work of the director, a decent plot turned out, in which there is no place for deep disclosure of images, but there is their competent application to the current background of real military operations, when the value of human life falls to the lowest point, and the supremacy of the order allows you to take the next victims for granted.
The same applies to the German garrison with its formidable commander, which at first glance seems caricatured, but on closer examination acquires natural features. In fact, depersonalization, obedience, ideological background both went and go hand in hand with the army, which without them loses the meaning of existence. This moment is successfully emphasized and sharpened by the characters of the old servant Sergeant Muller and the soldier who doubted his head.
In the same way, the main characters are outlined, each of whom the creators of the story tried to give an individuality just enough for the viewer to have enough compassion. Somewhere in this, perhaps, overstepped the stick, as in the episodes with dragging a chicken, but here quickly corrected. Unremarkable guys, in which many men can recognize themselves, nevertheless have a special character and skills, imagining them as people, and not "cannon fodder".
To strengthen this impression is possible by the appropriate inclusion of two female characters, in addition, designed to once again emphasize the tragedy of the war, and at the same time vividly play a key role in the operation, as the heroine of the Argentinean Erica Wallner, familiar to domestic fans (although it is better to say amateurs) of soap operas based on the series Celeste and Celeste, always Celeste.
Don't forget... You are an American and I am from Europe. And that's a big difference, Sergeant.
So the strengths of "No importa morir" give the picture more importance than the empty savoring of explosions and gunshots, which is greatly facilitated by the soundtrack from the experienced Gianni Ferrio. Rising slightly above the clash of the “bad Germans” with the “good allies”, it shows endless political squabbles, ready to break into a new slaughter before the old one is over.
The blood altar is always waiting for the next bodies going to destruction, which is expressed in the final scene with Russian troops facing the specter of the coming Cold War. Indeed, death may not matter when you clearly know what you are dying for. But where can we find the line that separates duty and personal choice from forced participation in cruel and unnecessary nonsense? The question remains open, and Klimovsky’s creation for a positive assessment is enough to be just a well-made military picture on a slippery topic.
6 out of 10