Bengasi is certainly not an instinctive or impetuous film characterised by flights of fantasy, but it is extremely measured and wisely organised to achieve a specific propagandistic end. We know Augusto Genina as the director of intimist films (we have fond memories of Miss Europa, Amori di mezzanotte and Amore e dolore di donna) and of films built around broader themes and situations like Squadrone bianco and L’assedio dell’Alcazar. But Genina has also made other films that could be defined, by and large, commercial. Now in Bengasi, these three experiences have been brought together for a work that has its own powerful tone; (…). The production company, headed by the three Bassoli brothers, provided the director with every means sparing, as they say, no expense. A district of Bengasi is reconstructed, luxurious interiors are staged and substantial means have been employed. And means, in cinema, count for something.

Francesco Pasinetti, Cinema, 25 September 1942