On the war of Greece is very little literature and cinema, is an event unrelated to the national memory that awakens only
Kefalonia, where we can reasonably go to victims. In 1953 a strange thing happened, known to all lovers of Italian cinema. That year, two young film critics on the left were arrested, taken to the military prison of Gaeta and tried for insulting the armed forces. Aristarchus
Guido, director of 'New Cinema' and Renzo Renzi
were prosecuted for publishing an article in which these Renzi suggested an Italian film on employment in Greece called
Army SAGAP , that is 'I love Army', a derogatory nickname used by the British on the Italians who had transformed their occupation zone in a large brothel. .. Later we would have boasted of our humanity than the German occupation: the right-thinking at the time and the military establishment took it badly. So the only films of the war in Greece was
The two colonels, with Toto and Walter Pidgeon. Then a dark film of 1970,
Crespuscolo Fire . Then
Mediterranean, which in some ways is related to 'armed
SAGAP but name only on the war with Greece. A French-Italian film with Mastroianni,
The generals of the dead just (Captain Corelli's Mandolin
is not only Italian but was badly received in Italy - probably because of the mandolin). And in the memoirs and literature is little better: Bedell, Rigoni Stern, Revelli treat Greece as a prelude to the great drama of the retreat from Russia (Note: withdrawn, non-invasion). Then there are the fun memories Giancarlo Fusco and little else. The myth of the Italian World War II, apart from the resistance, and the retreat from Russia, where the Italians, in overwhelming inferiority of men and equipment and in an inhuman (Very cold) can give the world a lesson in courage and humanity - while the Germans leave us on the road with their superior media. The same applies to Libya, with the difference that it is very hot. In short, in post-war reconstruction of our role in the conflict, a reconstruction that is used to cancel as much as possible the memory of defeat is accredited as a victors and victims (a current trend reached its climax), the war has no place in Greece. First, we are the aggressors: Greece he had not done anything (actually, since we had first invaded Albania, he had his reasons to be scared of us); Musssolini and military authorities were convinced that the Greeks would not fight , and the army italiano era considerato forte e quello greco praticamente insignificante - insomma, noi siamo i cattivi e loro i buoni. Non c'è spazio per l'aggressivo vittimismo che è oggi l'ideologia nazionale condivisa e che è stato importante fin dal 1945. Anche la Resistenza, tanto utile negli anni successivi alla sconfitta è oggi gettata nel dimenticatoio in nome della 'memoria condivisa', una memoria che ammette le colpe nei confronti degli ebrei ma non si sogna nemmeno di ammettere quelle verso i greci (ma chi sono? ma come si permettono?) Un tema, per dire, fuori dalle corde della tanto celebrata
'commedia all'italiana' , dove le vittime degli italiani sono altri italiani, e tutti insieme destinati ad essere vittime degli arrogant foreigners - is not expected that we are the aggressors. At one time it would have been able to put everything under the aegis of 'Mussolini's fault', now it is not even that ... To read: Gianni Oliva
How we won the Second World War. The alibi of the Resistance. The three italie John Rochat, 1943, chapter 'The war in Greece,' in 'places of memory' ...
source.
On the war of Greece is very little literature and cinema, is an event unrelated to the national memory that awakens only Kefalonia, where we can reasonably go to victims. In 1953 a strange thing happened, known to all lovers of Italian cinema. That year, two young film critics on the left were arrested, taken to the military prison of Gaeta and tried for insulting the armed forces. Aristarchus Guido, director of 'New Cinema' and Renzo Renzi were prosecuted for publishing an article in which these Renzi suggested an Italian film on employment in Greece called Army SAGAP , that is 'I love Army', a derogatory nickname used by the British on the Italians who had transformed their occupation zone in a large brothel. .. Later we would have boasted of our humanity than the German occupation: the right-thinking at the time and the military establishment took it badly. So the only films of the war in Greece was The two colonels, with Toto and Walter Pidgeon. Then a dark film of 1970, Crespuscolo Fire . Then Mediterranean, which in some ways is related to 'armed SAGAP but name only on the war with Greece. A French-Italian film with Mastroianni, The generals of the dead just (Captain Corelli's Mandolin is not only Italian but was badly received in Italy - probably because of the mandolin). And in the memoirs and literature is little better: Bedell, Rigoni Stern, Revelli treat Greece as a prelude to the great drama of the retreat from Russia (Note: withdrawn, non-invasion). Then there are the fun memories Giancarlo Fusco and little else. The myth of the Italian World War II, apart from the resistance, and the retreat from Russia, where the Italians, in overwhelming inferiority of men and equipment and in an inhuman (Very cold) can give the world a lesson in courage and humanity - while the Germans leave us on the road with their superior media. The same applies to Libya, with the difference that it is very hot. In short, in post-war reconstruction of our role in the conflict, a reconstruction that is used to cancel as much as possible the memory of defeat is accredited as a victors and victims (a current trend reached its climax), the war has no place in Greece. First, we are the aggressors: Greece he had not done anything (actually, since we had first invaded Albania, he had his reasons to be scared of us); Musssolini and military authorities were convinced that the Greeks would not fight , and the army italiano era considerato forte e quello greco praticamente insignificante - insomma, noi siamo i cattivi e loro i buoni. Non c'è spazio per l'aggressivo vittimismo che è oggi l'ideologia nazionale condivisa e che è stato importante fin dal 1945. Anche la Resistenza, tanto utile negli anni successivi alla sconfitta è oggi gettata nel dimenticatoio in nome della 'memoria condivisa', una memoria che ammette le colpe nei confronti degli ebrei ma non si sogna nemmeno di ammettere quelle verso i greci (ma chi sono? ma come si permettono?) Un tema, per dire, fuori dalle corde della tanto celebrata 'commedia all'italiana' , dove le vittime degli italiani sono altri italiani, e tutti insieme destinati ad essere vittime degli arrogant foreigners - is not expected that we are the aggressors. At one time it would have been able to put everything under the aegis of 'Mussolini's fault', now it is not even that ... To read: Gianni Oliva How we won the Second World War. The alibi of the Resistance. The three italie John Rochat, 1943, chapter 'The war in Greece,' in 'places of memory' ... source. 
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