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Crime, Drama, War
IMDB rating:
Stanley Kubrick


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Kirk Douglas as Col. Dax
Ralph Meeker as Cpl. Philippe Paris
Adolphe Menjou as Gen. George Broulard
George Macready as Gen. Paul Mireau
Wayne Morris as Lt. Roget / Singing man
Richard Anderson as Maj. Saint-Auban
Joe Turkel as Pvt. Pierre Arnaud (as Joseph Turkel)
Christiane Kubrick as German singer (as Susanne Christian)
Jerry Hausner as Proprietor of cafe
Peter Capell as Narrator of opening sequence / Judge (colonel) of court-martial
Emile Meyer as Father Dupree
Bert Freed as Sgt. Boulanger
Kem Dibbs as Pvt. Lejeune
Timothy Carey as Pvt. Maurice Ferol
Paths of Glory Storyline: The futility and irony of the war in the trenches in WWI is shown as a unit commander in the French army must deal with the mutiny of his men and a glory-seeking general after part of his force falls back under fire in an impossible attack.
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An excellent war film!
The end sequence is beautifully symbolic.The soldiers in the bar watch as a frightened German girl is brought before them. As the poor lass struggles to sing her song (it really doesn't matter what song), they begin to realize that this hapless creature is enduring what their three executed comrades had endured themselves. Their three comrades were brought before the military tribunal as a formality before their execution. Now these soldiers are the tribunal for this pitiful girl who now stands before them awaiting their judgment. But unlike the cold inhuman justice that the French military machine has dealt to their compatriots, they watch intently as this German girl strives to sing in spite of all their cat calls and hoots and hollers, realizing that she is trying her best in spite of overwhelming opposition, just as they and their three dead friends had tried in attacking the ant hill. They cry because they see themselves up there on the stage.........a poor frightened soul that finds themselves in a situation they'd rather not face but is compelled to do so. Colonel Dax realizes this and allows this brief respite of humanity to engulf the troops before they are sent back to face the horrors of the war. This film is indeed one of the best war films ever made it simply overpowers the viewer with emotion.
Madness and Patsies Crash Together In Kubrick's Explosive Thunderbolt.
Stanley Kubrick's Paths of Glory is holding up rather well these days, in fact it's as pertinent and relevant as ever.

It's 1916 and the French and German armies are in opposing mud trenches, when the French are ordered to undertake a suicidal assault on a German held hill, many of the soldiers are quick to realise it's an impossible order to see through to its conclusion and retreat, something which brings charges of cowardice from the military hierarchy. Someone must take the fall...

Withdrawn from circulation in France at one time, unreleased in Spain as well, Paths of Glory is a shattering indictment on military hierarchy. On those General types who watch from afar through telescopic sights as men and boys are led like lambs to the slaughter, then off they go to their dinning rooms to gorge on wine and wholesome meat, the stench of rotting flesh as bad on their breaths as it is out there in no man's land. But it's OK for the war effort, while there might even be a promotion for some lucky soul in nice trousers...

A two-parter, the film was adapted from the novel written by Humphrey Cobb. The first half follows the craziness of the attack, the horrors of war brutally realised as Kubrick and cinematographer Georg Krause bring out the worry and simmering anger that jostle for the soldier's souls. The camera is cold and calculating, thus perfect for the material to hand, it leads the viewers - with skillful fluidity - through the bleakness of the trenches and the desolation of no man's land, the former a foreboding place, the latter an atrocity exhibition as bodies get flayed and shattered, while others retreat with limbs or sanity barely intact.

Second part shifts to a legally based procedural as the Generals conspire to make an example of those who retreated. Cowardice and a dereliction of duty apparently means the firing squad must save the integrity of the army. Patsies are lined up, but their Colonel (a superb Kirk Douglas) wants to defend them, there's much sweat, tears and anger, accusations hurled, and mistakes once again proving insurmountable. Which leads to the astonishing finale, heartbreaking whilst inducing fury, and crowned by an elegiac song that brings tears for characters and viewers alike.

A monochrome masterpiece full of technical skills, towering performances and writing to die for, Paths of Glory, candidate for one of the greatest anti-military films ever crafted. 10/10
Many films preach to us the horrors of battle and tout the slogan: "war is hell". Most only serve to give the viewer two hours of grand battle scenes interspersed with mostly forgetful introspective moments by the main characters. Then there is the film Paths of Glory directed by Stanley Kubrick. It could have been a grand World War I spectacle with a cast of thousands and sets rivaling the war itself. Instead, Kubrick brings us a story of a failed battle told from a personal side rather then the often used long shot of war, shown on a grand scale, so often used in lesser films. Paths of Glory is the story of an egotistical Generals failure and the lengths he is willing to go to protect his reputation.

What a truly grand film this is. Even though this is one of Stanley Kubrick's early films, his genius is plainly evident. In one of the first scenes in the film he took what could have been a long, dull conversation between two Generals and choreographed their movements, along with the cameras, in such a way as to keep the viewers attention. Also, the long dolly shot that followed the General through the "trench" is purely Kubrick. One of his signature moves that he has incorporated in all his films.

The film ends with a scene of a frightened captured German woman being forced to sing to the French troops. On first thought I wondered why this scene was in the film. Looking back this scene provides much more incite to the situation then first at hand. She puts a face on a faceless enemy, thus humanizing them. We see her fear and realize that the French troops, who are soon off to another battle, are just as scared and unsure of their own futures. She is the only person of beauty in a world filled with horror. The palaces that the Generals occupy are grand, but also cold and lifeless. She is alive and out in the terrible world alongside the men in the trenches.

War is hell, not only for the soldier but also for all of humanity, and the only Paths of Glory shown to us in this film is the one taken by the three men. This is what the film is truly about.
An Anti-War Film for the Ages
The French Army calls it the Anthill. Mere kilometers away from Paris, German WWI forces have dug trenches and fortified the area for a little over a year. Gen. Paul Mireau (Macready) believes taking the Anthill is nearly impossible and says so within the first frames of Paths of Glory. Yet after the insinuation of a promotion by Gen. Broulard (Menjou), Mireau reconsiders, rationalizing and demurring such a feat of improbability for the sake of glory. Enters Kirk Douglas; cleft chin, movie-star good looks, and despite playing Col. Dax, a Frenchman, Douglas carries a signature American swagger. Surprised by the General's tactical decision, Dax nevertheless strives to carry out his orders.

Thus the wheels of Paths of Glory begin to screech and turn. The movie is infamously known not only as a damning anti-war film but as one of Kubrick's first great masterpieces in a career marked by nothing but. As an anti-war film, Paths of Glory is downright incendiary choosing hubris, human frailty and visual metaphor as a means to an end. Generals sit in a comfy château making decisions about the cannon-fodder in the trenches who are shell-shocked due to months of constant skirmishes. Those in the trenches who hold to some semblance of rank, take advantage of it to hide mistakes and keep up appearances. The end result of Mireau's gambit, which according to Dax "will weaken the French Army with heavy losses for no benefit"? So bitter and damning as to become farcical if it wasn't so unfailingly human.

Even as early as 1957, the late Stanley Kubrick displayed a mastery of his craft with a particular affinity to asymmetrical spacing, alienating long shots and mechanical tracking shots. He keeps his camera at a safe distance, robbing the audience of superfluous or unnecessary human emotions; concentrating instead on the chaotic wartime experience on an almost cosmic scale. Each 35mm frame of Mireau and Douglas coolly inspecting the foxhole huddled with frightened soldiers says more about inhumanity than can be found in the pages of a mediocre novel. The cynicism and pessimism of everything proceeding the battle is enough to make anyone revolt. Is it any wonder the film went unreleased in France for over twenty years?

But while the first tracking shots are an attack on the inhumanity of war, the scenes of the battle for the Anthill are a full frontal attack on the way Hollywood made war movies. While films like Sergeant York (1941) are drenched in patriotism, Paths of Glory's long, unforgiving battle scene dares to be cruel, emotionally complex and absurd. During an ever escalating barrage of artillery, mortar and machine gunfire, soldiers are dispatched with mechanical coldness, superiors shout out in the organized chaos while Col. Dax's story surreptitiously disappears into the ether. Meanwhile the enemy remains unseen.

As early as the forties, Douglas had been attracted by ardent bleeding-heart roles with a penchant for little-man-against-the- system melodrama. In the moments when the film veers into courtroom drama, Douglas oozes carefully controlled personal branding. Many claim that if not for Douglas's involvement, Kubrick would have shown his intellectual colors a lot earlier. Yet there's little doubt that without the interest of Kirk Douglas, Paths of Glory (twice rejected by United Artists) would cease be. While Douglas's star power does on occasion overwhelm the frame and he does chew the scenery with higher-than-thou proselytizing it feels almost like a release. It's almost as if Kubrick brings you to the edge of the abyss while Douglas warmly touches your shoulder and tells you not to jump. He's the bridge and arbiter between the entrenched studio system and the vanguard still percolating in France, raging in Japan and under-appreciated everywhere else.

Paths of Glory is a near perfect anti-war film and a high water mark for film in general. While a little stark for some, one can't help but find hope and beauty in the small moments such as when Christine Kubrick (longtime wife of the director) solemnly sings a German folk song to a squad of French troops. Douglas once called Kubrick a "talented s***," yet despite well documented friction, the two tall figures of cinema managed to make something real special here. Something too unique, too beautiful and too scornfully, maddeningly perfect to be ignored.
A strong anti-war statement
Stanley Kubrick's 1957 war film, "Paths of Glory" based on a novel of the same name by Humphrey Cobb is more of an anti-war statement. Hence, calling it a 'war film' wouldn't be right, as it does not lie in the same category as other war films, plot-wise.

The film is set during World War I. The story focuses on the war between the French and the Germans. General Mireau (George Macready) sends his division headed by Colonel Dax (Kirk Douglas) on a suicidal mission to take over a prominent German position called "Anthill". Initially Mireau is reluctant to carry out this task, but is enticed by an offer of promotion from his superiors. With this in mind, he practically forces Dax to begin with the mission. Col. Dax, also aware of the danger associated with the mission, points the same out to Mireau but Mireau does not relent.

Sure enough, the mission ends in disaster and what follows next is the crux of this powerful story.

What happens when these men in the very same army, defending the same country, from the same regiment turn against each other? What happens when some superior officers get greedy and selfish and stop valuing human life, more so, the lives of their own soldiers? "Paths of Glory" goes deep in the psyche of these men, both superiors and subordinates and makes a strong statement on what war does to them.

"Paths of Glory" was just a modest success commercially, I've read. It comes as a surprise, considering the screenplay by Stanley Kubrick, Calder Willingham and Jim Thompson is spell-binding, to say the least. Kubrick directs with his touch of genius and creates a tremendous impact. The first scene of attack on Anthill is so masterfully shot, you actually feel you are in the field of battle! Ditto for the rest of the film when things take an unexpected turn for some of the less fortunate soldiers. Every frame of this picture is gripping, right 'til the final one.

Kirk Douglas delivers a fabulous performance as Colonel Dax. His helplessness and the growing frustration about the greedy and corrupt army officers and the overall futility of the system is so convincing, it creates a lasting impression. This is one earnest and unforgettable performance by the legendary actor.

George Macready lends a great supporting act as the selfish, cut-throat General Mireau. So do others, including Wayne Morris, Ralph Meeker, Joe Turkel and Timothy Carey.

A special mention here, of Mrs. Kubrick (Christiane Kubrick) who makes an appearance for a short scene to sing the haunting German folk song, 'The Faithful Hussar'. She appears in a scene towards the end in what could be one of the best and most haunting endings I've ever seen in film.

"Paths of Glory" may not be as popular as some of Stanley Kubrick's later films, but it is definitely one of his best.
A Great Cinematic Experience

With classics like "Dr. Strangelove," "2001: A Space Odyssey," and "A Clockwork Orange," Stanley Kubrick was long ago canonized as a filmmaker of the highest skill and intelligence. One of his greatest skills is not allowing his films to be watched passively. He forces his viewers to respond both emotionally and intellectually. "Dr. Strangelove" does so with its black, disturbing humor and its comical treatment of one of modern man's most penetrating fears: nuclear warfare. "2001" does so by immersing us in its sweeping visuals as it follows mankind from the dawn of time to a place beyond time. "A Clockwork Orange" does so by forcing us to confront the inescapable violence and evil inherent in human nature and society's casual indifference and at times subtle encouragement of such. "Paths of Glory" is Kubrick's first masterpiece and while it is often forgotten in comparison to the three films mentioned above, it is just as compelling as any film he or anyone else has ever made.

The film's running time is only 87 minutes, yet it is deeper artistically than most films that carry on past the 120-minute mark. The reason for this shows Kubrick's superiority as a filmmaker. Every scene and piece of dialog is instrumental in forming the film as whole. Nothing is wasted. Every aspect of the film coalesces with every other aspect. This is seen in the coming together of the overall narrative of the French army's suicidal mission and the storyline of two individual soldiers within the army. Before the failed attack on Anthill, three men embark on a reconnaissance mission to scope out the territory. The subordinate officer, Paris, witnesses his commanding officer, Lt Roget, accidentally kill the other soldier. After the failed attack on Anthill, when the commanding officers are forced to pick one man from their troop to be tried at the tribunal, Lt. Roget chooses Paris, in an attempt at silencing the one man who knows his secret. But after Paris, along with the two other soldiers, are condemned to be shot, guess who Col Dax assigns to lead the execution? Roget.

Roget cannot hide from his guilt. He is forced to face it. When he asks Paris if he wants a blindfold for the execution, he cannot look him in the eye and asks for forgiveness. It is a powerful moment. This smaller narrative of Roget and Paris is interwoven then with the greater narrative. A lesser filmmaker might have had the Roget and Paris subplot remain a subplot with its own separate conclusion. The Kubrick, the conclusion of Paris and Roget is wedded to and made more powerful by the larger narrative.

Roget needs to be forgiven by the only one who knows his secret. His guilt is genuine and his desire for redemption private. Roget's private guilt is contrasted by General Broulard's complete obliviousness to the blame he deserves (taking the Anthill was his idea to begin with) and his desire to set things right only in the eyes of the public. He does so by telling General Mireau that he will be investigated for misconduct. After Dax tells Broulard of Mireau's order to fire on the battalion, Broulard must investigate Mireau not out of any sense of justice, but because Dax threatens to go public with the information. Boulard offers Dax Mireau's position, implying that Dax revealed Mireau's misconduct only to further his own career. Dax is outraged that Broulard is incapable of comprehending the injustice and his indignation. Thus, the one who is most responsible for the failed attack and the numerous deaths is also the one who has the power to blame and punish others for his failure.

The scene of Dax's indignant outburst against Broulard shows the nature of true evil. Mireau may have ordered his own army to shoot at the battalion and he may have vehemently argued for the battalion's execution, but he was acting on a set of principles, albeit a very twisted set or principles, but principles non the less. Broulard has no principles, only a desire to elude blame and preserve his own appearance and position of power and respect. This is the truer, more subtle evil.

Kubrick's screenplay and direction and Douglas's perfect performance make Dax's indignation our own. The injustice is painfully felt. We understand so clearly that these soldiers would have died if they left the trenches and are condemned to die for not leaving them. As we see the three condemned soldiers walk to their execution in a wonderful and classically Kubrickian tracking shot, we realize that the only two options these soldiers had were to die by the bullets of their enemies or by the bullets of their own countrymen. Either way, bullets will pierce their flesh. The nature of war makes living impossible

The movie ends with one of the most beautiful scenes I have ever seen in any film. In a tavern full of rowdy French soldiers, a German girl is brought on stage to be mocked for the entertainment of the soldiers. She is ridiculed because of her sex and nationality. Terrified, she begins to quietly sing a song in German. The whistling and hollering of the soldiers slowly abates and we see in their faces a look of such anguish, regret and sadness. A few of them wipe tears off their faces. Not knowing the words or the language, they begin to hum the song with the German girl. They are reminded of their humanity and it hurts. After showing us the darkest side of humanity, Kubrick ends his film with this scene of hope. Even in the midst of a war, these soldiers are capable of overcoming their brutishness and acknowledging their own humanity and that of the opposing nation. Kubrick allows us to see the entire range of what humanity is capable of, from the cruelest of injustices to the most beautiful of moments
Hauntingly Beautiful.
First off, Paths of Glory is my second favorite film of all time, a feat that is not easy to accomplish with my amount of movie-seeing. This movie is so powerful and brilliant that words cannot even express it. All I can say is please see it if you haven't. If you see no other movies in your entire life except Paths of Glory, then you would have done a good job. This masterpiece will not only not let you down, but it will force you to stand up and take notice to the horror of humanity and the heroism of one man.

I am truly not over-doing it in this summary, words simply cannot explain how beautiful every part of this film is. You just have to see it for yourself.
Despite 51 Years This Film Stills Holds Up
War films are a Hollywood staple starting somewhere back when All Quiet on the Western front gained prominence for being a great adaptation of the famed novel by Erich Maria Remarque. This 1957 film continued that great tradition with another look at the insanity aroused by war. In this instance it explores the insanity that can be aroused within an armies own ranks and the blind obsessions and principles of some individuals. Kubrick is never one for pulling punches in his films and with a classic star at his disposal in Kirk Douglas; he goes for the jugular of the issue. The humanity of the issue and corruptness, but the great aspect of the film is that it never loses site of the fact that everyone can make mistakes and that humanity of everyone in the army is necessary.

The backdrop of this film is based in fact. A certain General George Broulard, played with his usual air by Adolphe Menjou, comes to another commanding officer whom he manipulates into ordering a suicide run on the enemies' position. General Paul Mireau, played with a particularly hateful attitude by George Macready, then carries down the orders to his brilliant Colonel Dax, Kirk Douglas. Mireau in turns forces Dax to ready his men for the insane attack run. This is the setting, what follows of course is the utter failure of the attack and the anger of the superiors especially Mireau. Mireau wants to kill some hundred troops as an example of the men's cowardice, because during the attack he sees about roughly half of Dax's troops refusing to advance out of the trenches.

The film's strength is not in the message so much as the human face Kubrick gives the soldiers zeroing first on a moment of true cowardice committed by Lieutenant Roget. The Lieutenant is ordered to go on a reconnaissance mission the night before the attack by Dax, and, whether out of fear of going into No Man's Land or just a bad drinking problem, he gets drunk before going out with two of his men. As the trio goes out, he makes rash decisions, splitting up the party and fleeing at the first signs of trouble in the process letting fly a grenade that kills one of his men. The other man on the mission stays behind to see this and makes it back alive. This seemingly smaller story inside the big story is key though I think because it shows the humanity of the issue. What gives the commanding General up in his safe booth the authority to call his men cowards? He cannot possibly have a feel for the issues of the moment as Colonel Dax does in seeing his men bottled up in the trenches because they will be slaughtered upon going over the top.

The last third of the film is devoted to the court-martial of three of Dax's men over the issue of cowardice because Dax has managed through his form weight of being a premier lawyer to get the Generals to agree to settle for just three men's life at steak instead of the hundred originally discussed to show an example. The three men in question are either chosen by the commanding officers by random of because they are generally in disfavor as is Corporal Philippe Paris, the man who witnessed Roget's cowardice. Each falls apart as the date of their never in question execution approaches.

I will not reveal much more about the plot and the ending, but I will say that this film stands as a stellar war film dealing with great issues of warfare and the horrors it creates. The performances are gripping and the story gives a fair tone to the whole issue although as is usual of a Kubrick film the protagonist is generally in opposition to the authority throughout the film a effort that Kirk Douglas does with his usual ferocity, nobody can quite getting as seemingly hot tempered as Douglas. He is a yeller of extraordinary talent. Despite being roughly 51 years old this film still holds up quite well with great cinematography work and art direction.
What to say that hasn't already been said. This astonishing cinematic work of art (no kidding) unquestionably is the GREATEST FILM EVER - bar none. I deeply and passionately LOVE this brilliant early Kubrick production. Congratulations to expert screenwriters (and unique pulp writers of the 5O's) Calder Willingham (who also penned his own excellent adaptation of "The Strange One"; highly recommended) and Jim Thompson ("The Grifters" "The Killer Inside Me"; which strongly influenced Tarantino), who both present a superbly incisive script with powerfully effective dialogue that really rings more than true. If only we had more real writers and scripts like this remarkable achievement, we'd be writing far more favorable reviews. "Paths of Glory", alone, would serve as anyone's lifetime achievement award.

I don't care how much you HATE B&W films - put this one on your MUST-SEE. Compelling cinema-verite photography creates astounding visuals from a varity of incisive angles; like the famous mobile wide-angle tracking shot of Dax (probably Kirk Douglas's most stirring and important performance) moving through the squalid and horrifying trenches as the battle begins with explosions breaking out all over. The suspense and tension is frightening, but almost beautifully eerie in the most compelling ways as Kubrick takes us through the deadly limbo of no-man's land - the 'paths of glory' which finally leads to the grave. The action, skillfully combined with powerful moral and existential themes are amazingly conveyed through the bleak yet articulately stunning visuals. THIS IS A FILMMAKER'S FILM!

The moral outrage of the sadistic injustice of the military courtmartial never fails to make my blood fully boil. The hypocrisy and corruption is degradingly infuriating. If anything will make a cynic out of you, it's this appropriately pessimistic and depressing cinema chronical based on a true stupid incident in WWI. What's even worse is how POG, in many perceptive ways, serves as an allegory for all the B.S. in real life: Pig-headed leadership in the parasitic hands of the superior greed freaks, two-faced deceptive manipulations, double-standards, backstabbings, social bigotry, arm-chair warriors, egotism, corrupt politics, the militaries's abuse of too much power - and it's destructive desire at satisfying it's lust for vainglory (sounds a little like Hollywood) - Did I leave anything out? You name it, POG has it - and I'm not being sarcastic.

The entire ensemble cast is superb with special mention to George Macready as the utterly pompous power-mad glory-seeking "soldier", General Mireuo (who thinks nothing about ordering his troops to open fire on his own men for not charging out of the trenches and dying for his "country"; which smells a bit like ME ME ME). Don't worry, you'll throughly hate his guts. It truly is true method acting. Again, kudos to Macready, a fine actor who was always too good at playing highly unethical villians. (Incidently, this was a favorite film of a young 195O's Marlon Brando and old salty Winston Churchill, who praised Kubrick's incisive authenticity in the exciting battle scene, which does resemble news footage).

Timothy Carey (also ultra-offbeat-cool in Kubrick's other exceptional early flick, "The Killing") is morbidly humorous and gut-wrenching as one of the poor fools coldly picked to be executed; all in the ruthless 'patriotic' name (and amoral game) of 'glory'. ARE ANY OF OUR LEADERS LISTENING? Too bad that Carey's memorable talents were so underused by Hollywood, but that always seems to be the unfortunate norm. A little like what ironically happens to him in this intriguing but downbeat story.

Ralph Meeker (who was also memorable as the brutal and ruthless Mike Hammer in the 5O's cult gem "Kiss Me Deadly" - a complete opposite role that shows a true range of his acting abilities) delivers another wretching performance as the true brave soldier unjustly sentenced for "Cowardice in the Face of the Enemy". (Maybe he should have turned 'about face', but it would have still been 'damned if he did and damned if he didn't' - another grim moral theme here). His breakdown scene right before he is to be taken out and shot is terribly heartbreaking, for I felt so wanting, but helplessly unable, to come to his help.

Take my word for it, everyone else is awesome; a true actor's dramatic show with dark satirical overtones. POG goes beyond the mere preaching anti-war diatribe (though it does convey that almost naturally, like going without having to say). It's a great classic morality play that will really make you stop (many, many times) and truly make you think (many many times). Airheads not allowed. Moreover, this haunting and disturbing masterpiece is top entertainment, something too many art films aren't. >

It will really make you question things about our troubled, convoluted world and how things are to often immorally and inhumanly run all in the sick name of greed and destructive power. Not too lovely, for the director pulls no punches. This film really has grown more profound (and currently pertinent) since its initial release. Also the editing is taut and concise; there isn't a single wasted moment. Count the number of films on one hand that has accomplished that miraculous feat; that most critics and user commentators are always rightfully harking on. I'll shut up now. Go see this one-of-a-kind film, then see it again - and again, etc. >
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