Zasu Pitts was originally cast as Mrs. Bäumer (mother of Lew Ayres' character Paul Bäumer), but she was replaced by Beryl Mercer. Contrary to long-standing rumor, Zasu Pitts did not appear in the silent version of this film simultaneously produced for theaters not yet wired for sound. However, Zasu Pitts DOES appear briefly in the original 1930 trailer for the silent version, a scene of her in bed.
To ensure authenticity, director Lewis Milestone instructed the studio to try to find out if there were any World War I German army veterans living in the Los Angeles area, so he could have them authenticate German uniforms, equipment, etc. So many were found that Milestone cast a lot of them as German officers in the film, and had them drill the extras playing German troops (the scene where they are laying communication wire in the forward trenches was led by a former German soldier whose job during the war was to do exactly that).
According to the reminiscences of director Lewis Milestone, audiences laughed when Zasu Pitts appeared as the mother in the original cut (sound version), and that is why he recast the role with Beryl Mercer.
In the first classroom scene, two phrases are written on the blackboard: 1. in Greek, correctly written, the beginning of the Odyssey - Andra moi ennepe, Mousa, polytropon hos mala polla (the sentence breaks off, against grammar and sense); 2. Ovid, Remedia amoris, line 91 - Principiis obsta, sero medicina paratur (Resist the first elements [of passion]; it's too late when you resort to medicine). A third phrase appears at the end of the scene: Quidquid agis, prudenter agas et respice finem (Whatever you do, do it wisely and keep in mind your purpose), an anonymous traditional maxim with biblical echoes.
Future great director George Cukor, having recently been brought over from Broadway (where he was already a director) to Hollywood, was employed as a dialogue coach on this film. His job was to lessen the regional dialects of the actors so that American audiences could more greatly identify with the characters.
With the loss of limbs and gory deaths shown rather explicitly, this is undoubtedly the most violent American film of its time. This is because the Production Code was not strictly enforced until 1934, and also because Universal Pictures deemed the subject matter important enough to allow the violence to be seen.
Nazi rabble rousers stormed screenings of the film in Germany, often releasing rats or stink bombs into the theaters, as the wounds of defeat in the First World War still ran deep. This led to the film ultimately being banned by the Nazi party. It wouldn't receive proper screenings in Germany until 1956, though it did play to packed houses in 1930 in neighboring Switzerland, France and the Netherlands with special trains and buses being laid on to transport Germans to screenings.
Made for the then considerable sum of $1.25 million, the production utilized over 2,000 extras. The knowledge that production began only a few months after the 1929 stock market crash puts into perspective the enormous gamble taken by Universal Pictures in making this film.
Lewis Milestone deliberately made the film without music so as not to take away from the seriousness of the subject. Much to his chagrin, however, some movie theaters added music in of their own choosing, as they weren't used to having films delivered to them without any form of background scoring.
Lewis Milestone's attention to detail - and desire to be as authentic as possible - was such that the chief sanitary inspector of Orange County, California, insisted that production be halted while he check on the sanitary conditions of the trenches built for the film.
The film was banned in Germany by Nazi Minister of the Interior Wilhelm Frick on the grounds that it ignominiously represented Germans as cowards. Ironically, in neighboring Poland, that country's censorship board proscribed the film on account of it's being "pro-German."
This film's opening prologue states: "This story is neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped its shells, were destroyed by the war . . . "
Raymond Griffith, who played the dying soldier Gerard Duval, had lost his voice through illness as a child. A popular silent film star, the coming of sound effectively spelled the end of his career. All Quiet on the Western Front (1930) was his last hurrah.
In his 2013 study. "The Collaboration: Hollywood's Pact With Hitler", Harvard scholar Ben Urwand documents how the German riots against "All Quiet" prompted Universal Studios chief Carl Laemmle Jr.to agree to major cuts in the movie so it could be re-released in Germany.