This film is full of apocalyptic visions, where house walls crumble as if they were built on sand and a sea of flames springs up all over the land, mixed with fumes and a horrifying din. These images of death have not been composed by an artist’s imagination; they are not the macabre invention of a filmmaker who arranged the hideous skeletons at the Buchenwald and Dachau concentration camps. (…) The Common Father had already said: “if a generation should hear, at the heart of its conscience, the cry: War on war!”, then it is certainly the present one. Swimming through, as it has, an ocean of blood and tears, this generation has so intensely experienced unspeakable atrocities that the memories of so many horrors can only remain branded on the memory – and right down to the depths of the soul – as an infernal image. This is precisely one of the purposes of the film: to remind us, with our tendency to easily forget, of the chain of suffering, atrocities and horrors that we have lived through, so that the soul voices the cry ‘war on war!’

Turi Vasile, Guerra alla guerra, “La Rivista del Cinematografo”, no. 2 February 1947