Paths of Glory (1957 film)

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This film has been preserved in the National Film Registry in 1992.

Note: This page was taken from the now-closed Miraheze wikis.

"There's a picture that will always be good, years from now. I don't have to wait 50 years to know that; I know it now."

— Kirk Douglas in 1969 referring to this film.

Paths of Glory is a 1957 American anti-war film co-written and directed by Stanley Kubrick, based on the novel of the same name by Humphrey Cobb. Set during World War I, the film stars Kirk Douglas as Colonel Dax, the commanding officer of French soldiers who refuse to continue a suicidal attack, after which Dax attempts to defend them against charges of cowardice in a court-martial.

The film was co-produced through Kirk Douglas' film production company, Bryna Productions, and a joint venture between Stanley Kubrick and James B. Harris, Harris-Kubrick Pictures. In 1992, the film was deemed "culturally, historically or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.

Why It Rocks

1. Amazing acting from the ensemble cast, including Joe Turkel, Ralph Meeker, and Timothy Carey, as the three French soldiers in trial
   • This is especially notable from Kirk Douglas as the officer defending the unjust charged soldiers (Colonel Dax). Douglas himself would call the role of Dax the best in his acting career.
   • Veteran stars like Wayne Morris (a WWII fighter pilot) were willing to risk their careers to play unlikable roles. And yet, none of them appear to be overacting (except George Macready as General Mireau)
2. It mostly follows Humphrey Cobb's novel. Although, Kubrick had asked pulp author Jim Thompson to polish the dialogue. Thompson's voice can be heard in fiery, vituperative rants directed at officers.
   • One significant change is the film adaptation has Colonel Dax's role in the story enlarged.
   • Both the book and the film are divided into three parts: a prologue in which the generals decide to attack an enemy-held position (called the "Pimple" in the book, and the "Anthill" in the film); the battle itself; and a court martial after the French soldiers fail to secure the position.
   • The script strips away supporting material, concentrating almost entirely on pure narrative, in the process avoiding appeals to sentiment. Orders are given, positions are scouted, and the battle ensues, with no consideration for whether either side is right or wrong.
3. Unlike most other war films of its kind, Paths of Glory divides its attention equally among officers and common soldiers, constructing a complex picture of a war fought not only on open battlefields but also in the boardrooms.
   • On top of that, the screenplay chillingly spotlights the arrogance and incompetence of military leaders, especially with Generals Mireau and Broulard, who intentionally send their troops on a suicide mission and care about profits and promotions more than the soldiers' lives.
4. The problem with creating an anti-war film isn't getting a liberal audience to agree with you, but rather winning over those not against war to begin with. The 1930 film adaptation of All Quiet on the Western Front tried showing the futility of war through the experiences of an "everyman", who's first disillusioned and then killed during World War I. Humphrey Cobb -- wounded and gassed in the conflict -- was inspired to write his novel Paths of Glory after reading about financial compensation to the families of soldiers unjustly executed during the war. Although the film's decidedly antiwar, the film does not espouse pacifism, exemplifying this contradiction in Colonel Dax, the officer defending the unjustly charged soldiers.
5. Several extensive tracking shots, often with the camera in reverse, drawing viewers into the soldier's world making their environment feel real. Kubrick's technical mastery is unmistakeable, which very few directors were previously able to accomplish
6. Despite various obstacles (including portable microphones being unable at the time, making recording sound difficult) Kubrick was still able to achieve a remarkable look and feel for the film. The script hurtles forward with a ghastly momentum, with the camera and sound grounding viewers in a nightmare of death. Unlike All Quiet on the Western Front, there's no escape from the war, no higher reason to appeal to, no relief from death.