With his former directional effort, The Killing, Stanley Kubrick had established his talent as both a storyteller and visionary. In 1957 Kubrick released Paths of Glory, an anti-war film which was instantly banned in France and Spain for its negative portrayal of the military during World War 1. Nevertheless, the director has reportedly claimed that the film is not "anti-war", but is "anti-authoritarian ignorance." While not receiving much attention at the time of its release critical acclaim grew with each passing year and today it is often ranked among "the greatest films ever made." Director Steven Spielberg has even stated that it is indefinitely his favourite work from the late icon.
When people study Kubrick's filmography in retrospect there is a particular criticism which nearly always rears its ugly head; this being the accusation that Kubrick was incapable of capturing emotion or providing a sense of empathy towards his characters, therefore distancing the viewer. I for one consider Kubrick's detached manner intentionally in context with the nature of his work. Even so, this definitive anti-war outing is far from echoing the cold demeanour of those endless, symmetric corridors in The Shining and yet it still contains the theme of struggling to cope with a greater force.
Starring macho action star Kirk Douglas, the film boasts the greatest performance of the actor's lengthy career. It was the performance which developed the foundations of a two-film companionship between actor and director, the latter work being Spartacus. Douglas defied expectations, performing as a disillusioned French unit commander in WW1. His character's idealistic duty is to protect the human rights of three men who have been unjustly accused of cowardice and are consequently facing firing squad execution as an example for those who retreat while in the warzone. Douglas' performance is an acting showcase, displaying the utmost degree of empathy and moral insight.
Much of the narrative is spent with Douglas defending the three men facing death. Kubrick's trademark tracking-shot was introduced and utilised to the best extent during the scenes of trench warfare. The technique adds an enclosed, claustrophobic impression of unease. The meticulous manner of direction is directly impressionable and acts as a method of submerging the viewer in a story of delusions, ignorance and more than anything else, arrogance.
If you are yet to of seen this film, go and grab yourself a copy right away as you are almost certain to be blown away at the hands of an auteur. Plus, it beats the noticeably dated All Quiet on the Western Front any day, and you are unlikely to find a story with a more benevolent and worthy conclusion.
When people study Kubrick's filmography in retrospect there is a particular criticism which nearly always rears its ugly head; this being the accusation that Kubrick was incapable of capturing emotion or providing a sense of empathy towards his characters, therefore distancing the viewer. I for one consider Kubrick's detached manner intentionally in context with the nature of his work. Even so, this definitive anti-war outing is far from echoing the cold demeanour of those endless, symmetric corridors in The Shining and yet it still contains the theme of struggling to cope with a greater force.
Starring macho action star Kirk Douglas, the film boasts the greatest performance of the actor's lengthy career. It was the performance which developed the foundations of a two-film companionship between actor and director, the latter work being Spartacus. Douglas defied expectations, performing as a disillusioned French unit commander in WW1. His character's idealistic duty is to protect the human rights of three men who have been unjustly accused of cowardice and are consequently facing firing squad execution as an example for those who retreat while in the warzone. Douglas' performance is an acting showcase, displaying the utmost degree of empathy and moral insight.
Much of the narrative is spent with Douglas defending the three men facing death. Kubrick's trademark tracking-shot was introduced and utilised to the best extent during the scenes of trench warfare. The technique adds an enclosed, claustrophobic impression of unease. The meticulous manner of direction is directly impressionable and acts as a method of submerging the viewer in a story of delusions, ignorance and more than anything else, arrogance.
If you are yet to of seen this film, go and grab yourself a copy right away as you are almost certain to be blown away at the hands of an auteur. Plus, it beats the noticeably dated All Quiet on the Western Front any day, and you are unlikely to find a story with a more benevolent and worthy conclusion.