245:, a battle ensues; the rebels are defeated but the captain is killed. Meanwhile, Cristiana and a group of other tourists have arrived at the fort. A reconnaissance plane brings news to the fort of the battle and a dead officer, without knowing which officer has perished. This causes Cristiana an anxious night of waiting. The following day Lieutenant Ludovici returns, now in command of the squadron, and elects to remain in Tripolitania. As Cristiana prepares to leave with the tourist group, Mario bids her a final goodbye.
29:
233:
Mario transfers to a desert fort in
Tripolitania, where he replaces a heroic lieutenant who has recently perished in combat against the rebellious natives. Captain Santelia (Fosco Giachetti) distrusts Mario at first as a cowardly playboy. However, after the rebels steal some animals, the two pursue
229:
Cristiana (Fulvia Lanzi) is seen enjoying herself, dancing and drinking with other men. Lieutenant Mario
Ludovici (Antonio Centa) races down a dark road and calls Cristiana from a payphone with a sense of urgency. When she does not answer, he proceeds to her apartment and angrily pounds on the door
294:
gave the film a good review, characterizing it as "odd and refreshing" for a "superficially melodramatic film". Greene claims that the film is "a very slow picture", but that in time the audience comes to recognize that "slowness is a value", and he describes the photography as "unsensational and
238:-riding native troops allied to the Italians on a long and panoramic desert trek. Mario becomes ill, but eventually the two officers come to a mutual understanding and Mario disposes of a cigarette case from Cristiana and stops reminiscing of their luxurious memories.
331:, the native "rebels" are portrayed as well-armed with European weapons. The film plays down the overwhelming disparities between the Italian and Tripolitanian forces, omitting for example the offensive use of aircraft (in addition to reconnaissance) and the use of
345:
Genina was temporarily banned from
Italian studios for his work on such imperialist war films, but continued to find work after 1945, in a climate where nearly all Italian filmmakers had collaborated to some degree with the regime.
275:
Genina's noted shots of the
Tripolitanian desert were all done on location. For its use of foreign technologies, it has been called the "first sample of the Americanised technical powers of Italy's huge new cinema city."
342:'s theory of crowds (i.e. the native Tripolitanians) and space (i.e. the desert) as "two interconnected phenomena," noting that the natives themselves are "virtually absent from the screen."
310:
Traditionally, the film is divided into three narrative segments in the theme of the
Fascist male conversion: "the bourgeois prologue, the colonialist segment, and the epilogue."
320:
reinterpretation of pre-Fascist historical narratives for contemporary purposes, i.e. "expansionist propaganda." Others consider it first and foremost an
302:
raved that the film "has all the enduring greatness of simplicity. There is no affection, only a plain recounting of Man's eternal battle with Nature."
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and rings the bell. He demands a traditional relationship, and leaves when she refuses but tries to seduce him.
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201:. The plot features a cavalry lieutenant, unlucky in love, who redeems himself by battling the "rebels" of
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467:
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370:
887:
184:
170:
587:
A Place in the Sun: Africa in
Italian Colonial Culture from Post-unification to the Present
362:
317:
107:
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60:
261:
927:
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339:
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264:, who had a hand in the adaptation of the script to the screen. It was shot at the
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The
Folklore of Consensus: Theatricality in the Italian Cinema, 1930-1943
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film, only indirectly nationalistic through its use of patriotic themes.
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British Film
Institute, British Institute of Adult Education. 1932.
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memorable". Greene also praises the acting of Fulviá Lanzi.
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The
Culture of Fascism: Visions of the Far Right in Britain
316:has been interpreted as an "exemplary film" of the
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103:
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462:Gottlieb, Julie V., and Linehan, Thomas P. 2004.
441:. Oxford University Press. pp. 181, 184.
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8:
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643:
424:(2 December 1937). "Lo Squadrone Bianco".
27:
18:
327:As in other Fascist colonial films like
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503:
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576:British Film Institute, 1932, p. 199.
367:Fascist Modernities: Italy, 1922-1945
241:Having caught up to the rebels at an
7:
388:Roberto Rossellini's Rome Open City
338:Other analyses of the film draw on
638:History of Libya as Italian Colony
589:. University of California Press.
369:. University of California Press.
14:
1027:Films directed by Augusto Genina
187:for "The White Squadron") is a
898:Woman's Love—Woman's Suffering
758:The Story of a Little Parisian
520:. Cambridge University Press.
390:. Cambridge University Press.
1:
1012:Italian black-and-white films
1022:1930s Italian-language films
698:The Prince of the Impossible
539:Brasseys' Guide to War Films
219:Second Italo-Abyssinian War
1073:
828:The Woman Dressed As a Man
748:The Prisoners of Shanghai
681:
585:Palumbo, Patrizia. 2003.
300:British Union of Fascists
253:The film is based on the
26:
1017:Italian historical films
918:The Siege of the Alcazar
606:Ben-Ghiat, 2004, p. 208.
567:Ben-Ghiat, 2004, p. 134.
386:Gottlieb, Sidney. 2004.
234:them with a squadron of
958:Three Forbidden Stories
938:Heaven over the Marshes
1037:1930s historical films
818:The Lovers of Midnight
558:Gottlieb, 2004, p. 47.
507:Palumbo, 2003, p. 281.
718:The Hearth Turned Off
516:Landy, Marcia. 2000.
483:Landy, Marcia. 1998.
329:Il cammino degli eroi
808:The Darling of Paris
435:Taylor, John Russell
298:A reviewer from the
215:Venice Film Festival
209:). The film won the
1057:Films shot in Libya
1042:Cines Studios films
878:The Phantom Gondola
838:We Are Not Children
621:Lo squadrone bianco
537:Evans, Alun. 2000.
314:Lo squadrone bianco
180:Lo squadrone bianco
22:Lo squadrone bianco
1052:Fascist propaganda
1032:Films set in Libya
908:Castles in the Air
858:The White Squadron
708:The Beautiful Wife
322:Italian neorealist
1007:Italian war films
989:
988:
868:Flowers from Nice
778:Love's Masquerade
439:The Pleasure Dome
335:by the Italians.
260:by French writer
176:
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16:1936 Italian film
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466:. I.B. Tauris.
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432:(reprinted in:
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409:Sight and Sound
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363:Ben-Ghiat, Ruth
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547:1-57488-263-5
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284:Writing for
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262:Joseph Peyré
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203:Tripolitania
197:directed by
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148:Running time
125:Release date
74:Guido Celano
69:Fulvia Lanzi
798:Miss Europe
333:gas warfare
36:Directed by
1002:1936 films
996:Categories
448:0192812866
350:References
249:Production
46:Written by
978:Frou-Frou
968:Maddalena
597:. p. 282.
549:. p. 201.
528:. p. 312.
495:. p. 222.
411:. p. 198.
377:. p. 140.
290:in 1937,
280:Reception
118:Roma Film
948:Devotion
768:Scampolo
632:See also
474:. p. 39.
398:. p. 49.
365:. 2004.
306:Analysis
205:(modern
167:Language
104:Music by
54:Starring
928:Bengasi
318:Fascism
213:at the
192:Italian
185:Italian
171:Italian
157:Country
134: (
981:(1955)
971:(1954)
961:(1952)
951:(1950)
941:(1949)
931:(1942)
921:(1940)
911:(1939)
901:(1937)
891:(1937)
881:(1936)
871:(1936)
861:(1936)
851:(1935)
841:(1934)
831:(1932)
821:(1931)
811:(1931)
801:(1930)
791:(1929)
781:(1928)
771:(1928)
761:(1928)
751:(1927)
741:(1927)
731:(1926)
721:(1925)
711:(1924)
701:(1918)
691:(1918)
593:
545:
524:
491:
470:
445:
394:
373:
152:97 min
255:novel
243:oasis
236:camel
207:Libya
161:Italy
626:IMDb
591:ISBN
543:ISBN
522:ISBN
489:ISBN
468:ISBN
443:ISBN
392:ISBN
371:ISBN
270:Rome
225:Plot
195:film
189:1936
136:1936
132:1936
624:at
268:in
998::
500:^
272:.
221:.
666:e
659:t
652:v
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451:.
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183:(
138:)
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