100 BEST WAR MOVIES: 12. Paths of Glory (1957)

 First, let me point out that noone is perfect, but at least I caught it after I had posted the #1 movie. I would hope if I had gotten to #1 without this movie making the 100 best list, people would have thought I was nuts.

 “Paths of Glory” was Stanley Kubrick’s first great film.  The fact that he also directed “Spartacus”, “Dr. Strangelove”, “Full Metal Jacket” makes a case for his being the greatest war movie director.  The movie was based on the novel by Howard Cobb which was published in 1935.  The teenage Kubrick had read the book in his father’s study.  Kubrick had trouble getting funding because of the depressing nature of the plot.  This problem was solved when Kirk Douglas was brought on board.  His production company took on the task and Douglas was paid 1/3 of the approximately $1 million budget.  He was not in it for the money as Douglas was committed to the project in principle.  The movie was a critical smash, but only a modest success at the box office and predictably did not do well in Europe.  In fact, it was banned in France for two decades.  Incredibly, the movie received zero Academy Award nominations and is not on AFI’s 100 Greatest Movies list!

 The movie is set on the Western Front in France in 1916.  A narrator summarizes the futility of the war up to that point.  It is a stalemate.  French Army Chief of Staff Gen. Broulard (Adolphe Menjou) visits Gen. Mireau (George MacReady) at his chateau.  Broulard orders an attack on an impregnable German position called the “Ant Hill”.  Mireau is at first against the insane, suicidal assault, but Broulard uses flattery and promotion bribery to bring him around.  He does not have to remind MacReady that he will be safely witnessing the attack from a bunker. Mireau visits the sacrificial unit to give the order to Col. Dax (Douglas). Dax is appalled at the senseless order, but Mireau assures Dax there will be only 60% casualties! He threatens to remove Dax and the colonel backs down. The attack fails, of course. Due to cowardice insists Mireau. Instead of punishing the whole unit, he agrees to only court-martial three soldiers. Dax acts as their defense attorney in the trial.

ACTING:   A+                

ACTION:   A+ (6/10) it has two great combat scenes, but it is mostly a courtroom drama

ACCURACY: N/A      

PLOT:  A               

REALISM:    B it’s bit over the top

CINEMATOGRAPHY:   A+

SCORE:   A

SCENE:  the attack across no man’s land

QUOTE:  Gen. Broulard:  Colonel, troops are like children. Just as a child wants his father to be firm, troops crave discipline. One way to maintain discipline is to shoot a man now and then.

HISTORICAL ACCURACY:  Howard Cobb was inspired by a newspaper story about an incident in the war where four French poilu were executed for unit cowardice.  After the war, their families sued and two families were rewarded one franc each and the other two got nothing.  It was not uncommon in the French army and others (not including the American army) to execute men to strengthen the will of others.  The scenario in the movie is only indirectly related to the famous mutinies by French soldiers in the war.  The refusal to follow orders to continue wasteful attacks occurred wholesale in the army in 1917 after Nivelle's Chemins des Dames offensive to win the war came far short of the optimistic palaver fed to the troops.  There were some executions initiated by Petain as part of his otherwise empathetic diffusing of the situation.  It is safe to assume that among the 10% of men who were court-martialed and executed, there were undoubtedly some who did not deserve death.  The French government would have agreed with Mireau that the tonic might be harsh for a few, but effective for the masses. 

CRITIQUE:  This was only Kubrick’s fourth film, but you can clearly see the style that made him one of the great directors.  The cinematography by Georg Krause is magnificent.  “Bridge on the River Kwai” took that Oscar, but you could argue that “Paths to Glory” is superior and certainly deserved a nomination.  Speaking of which, although it could be argued that “Bridge” is the overall better film, no one in their right mind would say today that the nominees “Peyton Place”, “Sayanora”, “Witness for the Prosecution”, and “Twelve Angry Men” were more deserving than “Paths”.  Especially those first two!  The movie is famous among film buffs for the long tracking shots (especially the battle scene) and Kubrick’s abrupt cuts.  He is not big on fades in this movie.  The interior scenes with their baroque mise en scenes and the deep focusing are a clinic.  We also get a lot of off-centered shots.  Disconcerting to modern war movie lovers, the film lacks the frenetic cutting used to add to the fog of war.  In “Paths of Glory”, you know what is going on during a battle.  You are not lost or confused.

 The musical score is sparse, but Gerald Fried (who went on to score “Gilligan’s Island”!) encouraged the use of snare drums in war movies.  The closing song was of Napoleonic vintage and ends with the lines:  “Oh please Mother, bring a light /  My sweetheart is going to die”.  Coincidentally, Louis Armstrong had a hit with a version of it one year before the movie was released.

The acting is outstanding.  Douglas is his usual charismatic self, even more so because he was passionate about the project.  His Dax is one of the great anti-authority figures in war movie history and ahead of his time in the genre.  He runs the gamut of that stereotype.  Sarcasm, slow-burns, seething, and finally snapping.  The supporting cast is not intimidated.  MacReady and Menjou are all-time slimy.  Morris (who was a highly decorated ace in WWII) creates one of the great cowards in war movie history.  Ralph Meeker does his best work in an underrated career.  The most fascinating character is Ferol.  The eccentric Carey plays him to the hilt and his scene-stealing aggravated the rest of the cast. He gets one of the great lines in war movie history. After Paris ruminates about how a cockroach has a better future than him, resulting in Ferol smashing it and deadpanning:  “Now you have the edge on him.”  For instance, when he is being led by the Father to the execution and he bites into his arm - that was unscripted and almost got him punched in the face by the bemused Emile Meyer.  Carey was fired towards the end of the 64 day shoot and a double had to be used for the confession scene. 

The movie is not subtle in its themes.  It is an anti-war movie, but it is more appropriately labeled as an anti-command movie.  The battle scene is certainly horrific, but it is only seven minutes and no major character is killed.  The real focus of the plot is the machinations of the generals.  Broulard and Mireau are loathsome, but fairly representative of high command in the war.  Obviously, French high command in particular (Broulard resembles Joffre), but all of the belligerents in general.  It is no secret that the tactics used in the war were pigheaded, but the script enlightens about the use of court-martials to “motivate” the common soldiers.  A related theme is the dominance of the officer class over the enlisted.  Not only are most officers motivated by promotion (as opposed to the poilu just trying to survive), they use their position to wriggle out of culpability.  The only caveat I have with the themes is the ending cantina scene tends to dilute them.  The movie would have been better served ending with the executions.  However, considering the rumors that Douglas had to prevent Kubrick from giving the men a reprieve, it could have been much worse.  Having a tearful singalong by the cannon fodder signals that war goes on.  By the way, contrast the songs at the end of “Paths of Glory” and “Full Metal Jacket”.  ‘Nuff said.  The songs have a similar vibe, though.

How realistic is it in military matters?  The trenches are a little too wide, but that was to facilitate those awesome tracking shots, so all is forgiven on that score.  The night patrol seems typical, although fratricide by a cowardly leader was uncommon.  The main battle sequence is so well done that I showed it in my American History class to prepare my students for their letter from a soldier at the front assignment.  (The other clips are from “All Quiet”, “Sergeant York”, and “The Lost Battalion”.) It took 60 men, eight cranes, and three weeks to turn a German farm into the scarred landscape of trench warfare. Special kudos to the German police officers who were the extras and did some of the best dying in a war movie. The sound effects bear mentioning.  The whining of the artillery shells and the resulting explosions add to the impression of Hell on Earth.

CONCLUSION:  “Paths of Glory” is one of the great war movies and definitely belongs in the top twenty.  It sets out to make an impression and it succeeds perfectly.  Kubrick plus Douglas is a winning combination, as seen in “Spartacus”.  It is more court room and behind the scenes oriented than most war movies, but it does have one of the great combat scenes to balance that. 

Surviving Black Hawk Down (2025)

 

               “Surviving Black Hawk Down” is a new documentary series on Netflix. It tells the story of the Battle of Mogadishu which was portrayed in Ridley Scott’s “Black Hawk Down”. It was produced by Ridley Scott Associates. The series uses eyewitness accounts of American personnel, militia members, Somali civilians, and a Somali who used his camcorder to chronicle the battle. There are reenactments that look as good as the movie.

               The series is a good companion to the movie. You should see it if you have seen the movie. And before you think that Scott’s involvement ensured the series would be Americentric like his movie, it appears to be Scott’s way of rectifying the one-sided view of the battle that his film provided. I do not fault the movie for highlighting the bravery of the American soldiers, but it clearly did not present the other side well. It did have a few Somali characters and one of them is the main villain who gets a Hollywood style death to please the American viewers. The movie is excellent as a battle film and it is accurate. It is understandable that the only background is in the title cards at the beginning.  The series rectifies this by giving the big picture as well as the battle itself. Oddly, the series uses the interviewees to explain why they were in Somali. While the film gives the soldiers a chance to give their viewpoint on the mission, it would have been wiser to have used historians for the background. Operation Restore Hope began with Americans being greeted warmly by the people, which they should have been because it started as a humanitarian mission to help with distribution of food supplies to a starving populace. The series does a poor job explaining what the US military was doing there. It became an example of mission creep as the military was given the additional goal of capturing or killing Aidid. The problem was that half the city viewed him as their leader. Civilians were caught in the crossfire and this added fuel to the flames. And throw in the typical American soldier’s disdain for people living in the Third World. Lessons from Vietnam unlearned.

               The battle is very well presented. Seven Rangers or Delta Force members were interviewed. They are all very candid. “It was terrifying, as well as exciting”. That’s a good summary of combat from someone who went from playing video games to the real thing. And overall, the Battle of Mogadishu is an example of the fog of war as the seven men were very confused as to what was happening to them. However, since they were being interviewed years later, they could explain what they were trying to do that day. One of them was one of the first to Blackburn’s body. It does a better job than the movie in showing the chaos of urban warfare in a city where it was the public versus a small force. One veteran uses the term “a wall of lead”. And another says, “And all hell broke loose.” The viewers don’t have a fog of war because the series uses an animated city map to show where the groups of Americans were throughout the battle. Intercut with the remembrances of the Americans are interviews with male and female Somalians. As an American, listening to the militia members talk about what they considered a victory is eye-opening. They are unapologetic. Hollywood loves revenge and except for the fact that the Somalis greatly outnumbered the Americans, I can imagine a movie where they are the good guys. The series forces you to consider the other side’s view. It is hard not to understand their reasons for fighting. I was conflicted when watching it because my first reaction to the men who relished killing Americans was disgust, but I had to keep telling myself that they had legitimate reasons.

GRADE  =  A