Paths of Glory

Although Kubrick's films are marked by their massive variation of genre and tone, one theme that crops up again and again is a strong anti-war sentiment, and this was never stated more strongly than in Paths of Glory. A relatively early Kubrick picture and, despite coming before what is considered his classic period, it is one of his best.

In contrast to his previous picture, The Killing, a definite Kubrick style is beginning to emerge now. One notable example is the scene in which General Mireau tours the trenches, walking towards the audience with the camera retreating away from him. This technique would be repeated years later in Kubrick's other war film, Full Metal Jacket. There is also something about the arrangement of objects in the frame, as well the tracking and dollying which hints towards his more familiar later style. His recurring chess motif appears as well, albeit subtly. At the court martial the floor is chequered, and the soldiers on trial are seated with guards standing behind them as if they are pawns about to be sacrificed.

The light and contrast in this picture is put to good effect. The palatial officers' headquarters is light and airy with few shadows. The trenches are gloomy and cramped. Kubrick was becoming a real master at contrasting locations and getting the look of a place just right.

The use of music in Paths of Glory is bold and brilliant. The pre-recorded score is almost entirely percussive – all rhythmic sounds with no melody. A weird kettle drum track is used to help build tension in the night patrol scene, while in the climactic scene the funeral march drumming instills a sense of dread, further heightened by having the shots edited in time to the beat. In the emotional final scene we get the complete opposite – a beautiful vocal melody. This has all the more impact after hearing nothing but militaristic drums for the rest of the film.

The casting is absolutely flawless. While there are no big names apart from leading man Kirk Douglas and the now elderly Adolphe Menjou, there isn't a single weak performance. The despair and resentment of the condemned soldiers feels so absolutely real. In contrast the smugness and fake sympathy of the upper class officers is brilliantly portrayed.

Throughout his career Kubrick never seemed to be particularly keen on blatantly emotional moments. Paths of Glory is the exception. The later scenes are incredibly poignant and moving, and the final moments in the soldier's bar are what makes it a masterpiece more than anything else – the icing on the cake. However it's quite probable that Kubrick regretted this as an overly sentimental approach, as woolly sentimentalism was a major gripe of his when he worked on Spartacus. Whatever the case, he certainly reined in the stirring stuff considerably after this, to the point where his later films became characterised by their understatement of emotions.

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.

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. >

You've been posted to the front, to serve your country in the war, now they want you to go over, and face the enemy once more, only problem that you have, is you know it's certain death, there'll be no gains made here today, but there'll be, almighty mess.

As powerful a film as ever existed against those who pursue war as a solution, painting a portrait of the incompetence of command and the futility of armed conflict, as French soldiers on the front during WW1 discover the penalty for disobedience, the consequence of insubordination and that everyone is accountable, and that nothing's fair, there is no love in war.

Top performances all round, especially from Kirk Douglas, and a director that went on to make his mark quite significantly in the world of film.

I consider Paths of Glory as one of the most memorable of Kubrick's entire output. The most remarkable aspect of this pioneer anti-war film is the complete absence of any persons depicting the "real" enemy. Therefore, the significance of the film lay not so much in its anti-war message, but in its brilliant expose of the "monsters within" the general staff, superbly acted by Adolphe Menjou and George Macready. The message here is that the enemy lurks much closer to home. In most war films, whether they glorify or condemn the carnage, there is rarely any venturing at all into the darker side of the politics. This film is a tour de force in its unabashed depiction of just how misguided is the quest for glory as an end in itself; and in the portrayal of the leaders who would shamelessly sacrifice others for their own self aggrandizement. Truly, one of my all time favourite movies.