Paths of Glory (1957)

Director:

Stanley Kubrick

Writers:

Stanley Kubrick (screenplay) &
Calder Willingham (screenplay) ...
(more)

Release Date:

25 October 1957 (West Germany)

Genre:

Drama | War

Tagline:

Never has the screen thrust so deeply into the guts of war!

Plot:

When soldiers in WW1 refuse to continue with an impossible attack, their superiors decide to make an example of them.

Plot Keywords:

General | Soldier | French Army | Cannon Fodder | Controversy

Awards:

Nominated for BAFTA Film Award. Another 3 wins & 2 nominations

Cast

Kirk Douglas	...	Col. Dax
Ralph Meeker	...	Cpl. Philippe Paris
Adolphe Menjou	...	Gen. George Broulard
George Macready	...	Gen. Paul Mireau
Wayne Morris	...	Lt. Roget
Richard Anderson	...	Maj. Saint-Auban
Joe Turkel	...	Pvt. Pierre Arnaud (as Joseph Turkel)
Christiane Kubrick	...	German Singer (as Susanne Christian)
Jerry Hausner	...	Proprietor of Cafe
Peter Capell	...	Narrator of Opening Sequence / Chief Judge of Court-Martial
Emile Meyer	...	Father Dupree
Bert Freed	...	Sgt. Boulanger
Kem Dibbs	...	Pvt. Lejeune
Timothy Carey	...	Pvt. Maurice Ferol
Fred Bell	...	Shell-Shocked Soldier
John Stein	...	Capt. Rousseau - Battery Commander
Harold Benedict	...	Capt. Nichols - Artillery Spotter
rest of cast listed alphabetically:
Leon Briggs	...	Capt. Sancy (uncredited)
Paul Bös	...	Maj. Gouderc (uncredited)
Herbert Ellis	...	Small Role (unconfirmed) (uncredited)
Wally Friedrichs	...	Col. De Guerville (uncredited)
Halder Hanson	...	Doctor (uncredited)
James B. Harris	...	Private in the Attack (uncredited)
Rolf Kralovitz	...	K.P. (uncredited)
Ira Moore	...	Capt. Renouart (uncredited)
Marshall Rainer	...	Pvt. Duval (uncredited)
Roger Vagnoid	...	Cafe Owner (uncredited)

Directed by
Stanley Kubrick

Writing credits
Stanley Kubrick		(screenplay) &
Calder Willingham		(screenplay) and
Jim Thompson		(screenplay)
Humphrey Cobb		(based on the novel "Paths of Glory" by)

Produced by
James B. Harris	....	producer
Kirk Douglas	....	producer (uncredited)
Stanley Kubrick	....	executive producer (uncredited)

Original Music by
Gerald Fried

Cinematography by
Georg Krause		(photographed by) (as George Krause)

Film Editing by
Eva Kroll

Art Direction by
Ludwig Reiber

Costume Design by
Ilse Dubois

Makeup Department
Arthur Schramm	....	makeup artist

Production Management
John Pommer	....	production manager: American
Helmut Ringelmann	....	unit manager
George von Block	....	production manager: German

Second Unit Director or Assistant Director
Dixie Sensburg	....	assistant director (as D. Sensburg)
Franz-Josef Spieker	....	assistant director (as F. Spieker)
Hans Stumpf	....	assistant director (as H. Stumpf)

Sound Department
Martin Müller	....	sound
Al Gramaglia	....	sound re-recording mixer (uncredited)

Special Effects by
Erwin Lange	....	special effects

Camera and Electrical Department
Hans Elsinger	....	camera grip
Hannes Staudinger	....	camera operator
Stanley Kubrick	....	additional cinematographer (uncredited)
Lars Looschen	....	still photographer (uncredited)

Editorial Department
Helene Fischer	....	assistant editor

Other crew
Trudy von Trotha	....	script clerk
Baron von Waldenfels	....	military adviser (as Baron v. Waldenfels)
Sid Stogel	....	publicity director (uncredited)

Production Companies

• Bryna Productions (presents)

Distributors

• United Artists (1957) (USA) (theatrical) (released thru)
• United Artists (1957) (West Germany) (theatrical)
• United Artists Films (1958) (Finland) (theatrical)
• United Artists (1958) (Sweden) (theatrical)
• Bison Film (1965) (Sweden) (theatrical)
• Mainostelevisio (MTV3) (1965) (Finland) (TV)
• American Broadcasting Company (ABC) (1968) (USA) (TV)
• Yleisradio (YLE) (1983) (Finland) (TV) (2003) (2008)
• TV3 (1988) (Finland) (TV)
• MGM/UA Home Video (1990) (USA) (VHS)
• Chapel Distribution (1997) (Australia) (theatrical) (new 35mm print re-issue)
• MGM Home Entertainment (1997) (USA) (VHS) (pan and scan)
• Warner Home Video (1999) (Netherlands) (VHS)
• MGM Home Entertainment (Europe) (2002) (Sweden) (DVD)
• MGM/UA Home Entertainment (2002) (USA) (DVD)
• Park Circus (2005) (UK) (theatrical) (re-release)
• MGM Home Entertainment (2007) (USA) (DVD)
• Twentieth Century Fox Home Entertainment (2007) (Netherlands) (DVD)
• Criterion Collection, The (2010) (USA) (DVD) (Blu-ray)
• Cinemagia (Brazil) (DVD)
• Criterion Collection, The (19??) (USA) (video) (laserdisc)
• International DVD Group (2009) (Argentina) (DVD)
• MGM/UA Home Entertainment (2007) (USA) (DVD) (as part of the pack 'UA 90th Anniversary Prestige Collection', )
• Warner Home Vídeo (Brazil) (VHS)

Other Companies

• Munich Symphony Orchestra  music performed by (uncredited)

Also Known As:

Runtime:

88 min

Country:

USA

Language:

English | German | Latin

Color:

Black and White

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

Argentina:13 (original rating) | Australia:PG | Canada:14 (Nova Scotia) | Canada:G (Quebec) | Canada:PG (Manitoba/Ontario) | Finland:K-16 | France:(Banned) (original rating) | France:U (re-release) | Ireland:12 | Norway:16 | Sweden:15 | UK:A (original rating) (passed with cuts) | USA:Approved (MPAA rating: certificate #18708) | Spain:T | Iceland:L | Spain:(Banned) (1957-1986) | West Germany:12 (f) | South Korea:15 | Brazil:14 | Argentina:Atp (re-rating) | Netherlands:12 (2007) (DVD) | UK:PG (tv rating) | UK:PG (video rating) (1989) (2002) | UK:PG (re-rating) (2005) | USA:TV-14 (TV rating) | USA:Not Rated | Italy:16+

Filming Locations:

Munich, Bavaria, Germany

Company:

Bryna Productions

Trivia:

Kubrick and his partners purchased the film rights to Humphrey Cobb's novel from his widow for $10,000.

Goofs:

Continuity: In the scenes of the men's executions the sky repeatedly shifts between gray and overcast in some shots to bright sunshine in others, noticeably changing the natural light, causing shadows and sun glare to appear and disappear from shot to shot.

Quotes:

[first lines]
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...

Movie Connections:

Referenced in Breaker Morant (1980)

Soundtrack:

Künstlerleben (Artist's Life), Op.316

Kubrik's First Masterwork

"Paths of Glory" (1957) (and this is personal opinion of course) is Stanley Kubrick's first real masterpiece in what would be a long line of subsequent masterpieces. I know that Kubrick had a reputation for making cold, unemotional films (which is a false impression, but that's the subject for another essay) but I don't believe there are many people who can deny how powerful this film is. Through the editing, camera movement, incredibly realistic dialogue, and a now more fully realized use of irony, Kubrick creates an unforgettable anti-war parable. I realize that my love for this film is incredibly obvious, but I'll try to focus on an analysis of the film rather than a review, but the movie is just so good!

Francois Truffaut once said that there is no such thing as a true anti-war film because the battle scenes make the war look exiting. "Paths of Glory"'s scenes of battle are certainly gripping, but gripping in the way that a nightmare is gripping. There is no way a person can see these scenes and wish they were participating (like the action scenes in say, "The Dirty Dozen"). I vividly recall the scene where three men try to sneak behind enemy lines in the middle of the night. The battlefield is cloaked in darkness. Someone shoots a flare. Silently, a brief burst of light illuminates the field, revealing several corpses strewn over the ground. Darkness quickly covers them up again. Kubrick uses silence and sparse sound effects in this scene like a musical score. Any actual music would be intrusive and rob from the moment, a flaw found in too many otherwise good films of the nineteen fifties (personal opinion of course).

Point of view is used very well in the film to illustrate the inner concerns of the major characters. We see General Mireau's Point of view when he looks through the binoculars at the ant-hill he wants his men to take. When he hands over the binoculars to Colonel Dax, we don't see his view of the ant-hill. Later however, when Dax walks through the trenches before the big battle, we do see his point of view looking at his men. This contrasts with an earlier scene when Mireau walked through the trenches and we did not see his point of view. This clearly illustrates what is important to each man. For Mireau, it is victory at all costs; for Dax, it is the welfare of his soldiers.

For me one of the most impressive things about "Paths of Glory" was it's realistic, yet still poetic, and sometimes even chilling dialogue. This is in sharp contrast to the clever yet purposefuly stagy dialogue of "The Killing".

One scene sticks out my mind where a soldier is nervously rambling about what it would be like to get shot: "Most guys say that if they got shot they'd want to die quick. So what does that tell you? It means there not afraid of getting killed, they're afraid of getting hurt. I think if you're gonna get shot and live, it's best to get shot in the rear than in the head. Why? Because in the rear its just meat, but the head, that's pure bone. Can you imagine what it's like for a bullet to rip through pure bone?" When I first saw this film in a theater, there was some nervous laughter in the audience during this scene. It's true, the scene's dark humour helps illustrate the insanity of the situation.

In my introduction I stated that there was great use of irony in the film. Perhaps the greatest irony is the title. In the end no one finds glory. Dax, although he nobly fights to defend his men wrongly accused of treason, loses the fight. Even though he is later offered a promotion, he turns it down because of his disgust for the army. Mireau is found out to be the cad that he is for ordering his own troops slaughter, and is court marshalled. The film successfully states that in a war even the supposed victors lose something as well.