“The Camp Followers” is a poignant war film released in 1965 and directed by Valerio Zurlini, adapted from Ugo Pirro’s compelling novel. Set against the harrowing backdrop of World War II in 1942, the narrative follows a young lieutenant, portrayed by Tomas Milian, in the Italian Army. Tasked with a morally complex mission, he must transport a lorry filled with Greek prostitutes who are struggling to survive in the besieged city of Athens under Axis occupation. Their destination is the war-torn landscapes of Albania, where they are meant to entertain Italian troops engaged in fierce combat against Partisan forces. The film delves deep into the themes of desperation, survival, and the human spirit amidst the chaos of war.
Lieutenant Martino (Tomas Milian) and Sergeant Castagnoli (Mario Adorf) find themselves responsible for the twelve prostitutes. This assignment is far from what Martino had envisioned when he joined the Army, and he questions how it will contribute to their victory. Along the way, they are required to accept Major Alessi (Aleksander Gavric) as a passenger. An unpleasant character, Alessi outranks Martino and can impose his will on the soldiers and the women.
One night, the group finds shelter in abandoned railway carriages, where the men pair off with some of the women. The pragmatic Castagnoli partners with the older and more realistic Ebe, played by Valeria Moriconi. Martino is attracted to the forthright Eftichia, portrayed by Marie Laforêt, who has strong opinions on life. However, he is also approached by the gentle Elenitza, played by Anna Karina, who seeks to avoid conflict. The following day, a lorry full of Blackshirts drives by, and their leader, a war hero from Spain, requests one of the girls. After traveling a few kilometers, Martino’s group comes across the aftermath of an attack: the Blackshirts’ lorry and their prostitute, all killed by Partisans. Alessi becomes enraged at the gruesome scene and hysterically vows revenge.
Shortly after, their own lorry is ambushed and goes off the road in flames. The survivors carry the wounded to an abandoned cottage, where the still-hysterical Alessi says he will go and get help. Realizing he wants to escape, the wounded Castagnoli stops him at gunpoint. Meanwhile, Elenitza is succumbing to her wounds, and in front of everybody, Alessi shoots her dead. After dark, carrying Castagnoli, what is left of the group staggers over the mountains and arrives at a village emptied and burned by Blackshirts, who Alessi joins up with. They have captured some alleged partisans, who they shoot.
In the end, Martino is able to get Castagnoli into a military hospital, where Ebe makes sure he is comfortable and delivers the few prostitutes he has left. After what she has seen, Eftichia can no longer bear the thought of sleeping with Italians but makes one last exception in the case of Martino. After a night together, she walks into the mountains to join the partisans. Martino is on his own again, without purpose, and even more disillusioned.
Zurlini’s film delves into the emotional and psychological toll of the war on the characters, particularly the women, who find themselves caught between survival, dignity, and vulnerability. The Camp Followers is both a poignant study of human resilience and an exploration of the complex dynamics in post-war Europe. The film features beautifully crafted performances, particularly by Anna Karina, and offers a reflective, atmospheric portrayal of the lingering scars of war.
The Other Cinema 