In a year and festival where Steven Spielberg releases a reflective film on his own life and relationship to cinema, it’s understandable that we get a war film indebted to Saving Private Ryan—for better and for worse. A group of four young men slowly lose their innocence via the death and violence they encounter. The faces of these young men get caked with soot, blood, mud, and burnt remains of their brethren in the unforgiving battlefield. Their wide-eyed, patriotic valiance at the beginning of their campaign turn into horrors that mirror those of Florya, the immortally sour-faced boy in Come and See, though I’d say Elem Klimov’s film is much bleaker.
Though All Quiet on the Western Front aims to show the brute ugliness of war, it has the DNA of a Hollywood movie, and as such seeks to also valorize death and tragedy as a spiritual sacrifice.
Though All Quiet on the Western Front aims to show the brute ugliness of war, it has the DNA of a Hollywood movie, and as such seeks to also valorize death and tragedy as a spiritual sacrifice.
- 9/18/2022
- by Soham Gadre
- The Film Stage
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