In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
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. Written by
Keith Loh <email@example.com>
Both Stanley Kubrick and Kirk Douglas knew that the film was bound to be a hard sell at the box office. Despite the minor box-office take, Douglas still pocketed a salary that was roughly equal to a third of the film's total budget, which came to about $1 million. Kubrick, meanwhile, worked for a percentage of the profits, but received no salary. See more »
As Col. Dax is running through the trenches after Gen. Mireau gives his order, a "dead" soldier blinks. See more »
Narrator of opening sequence:
War began between Germany and France on August 3rd 1914. Five weeks later the German army had smashed its way to within eighteen miles of Paris. There the battered French miraculously rallied their forces at the Marne River and in a series of unexpected counterattacks drove the Germans back. The front was stabilized then shortly afterwards developed into a continuous line of heavily fortified trenches zigzagging their way five hundred miles from the English Channel to the Swiss ...
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An arrogant French general (a superb George Macready) orders his men on a suicide mission and then has the gall to try to court marshal and execute three of them for cowardice in the face of the enemy. A former lawyer turned colonel (Kirk Douglas in his prime) is the voice of reason against gross injustice. This excellently staged and wonderfully acted production is as much an acting showcase for Douglas as it is a directorial masterstroke by a young Stanley Kubrick who adapted this to the screen from a novel based on actual accounts.
Kubrick displays a great control of sound effects and camera movement in the brief but effective battle scenes that expertly depict the controlled chaos that was trench warfare during WWI. Things get juicier during the ensuing courtroom battle where the deafening disparity between the elite who propagate and profit from war and the common citizens who suffer and die in war is shown with great lucidity.
Unlike later Kubrick epics, this runs at a crisp 90 minutes, though suffers briefly from a slow and awkwardly staged opening ten minutes before Douglas comes on screen. Ultimately, this holds up very well to modern scrutiny thanks to the flawlessness of Kurbick's craft, the amazing ensemble acting, and the surprising depth of its philosophical and psychological pondering. "Paths of Glory" is more anti-arrogance than anti-war, and is unapologetically sentimental and pro-soldier. As such, much can still be gleaned from its message.
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