Paths of Glory

Paths of Glory is a 1957 movie directed by Stanley Kubrick.

Paths of Glory tells the story of Colonel Dax, a unit commander in World War I, who leads his men on a dangerous mission. After an unsuccessful outcome, he is then forced to defend three of his soldiers from a vindictive court martial.

Like a lot of movie fans, I hesitate to watch anything predating 1960. There is a rhythm and tone to classic movies that always feels unnatural – or at least aged. From a purely aesthetic view, dreamy, soft focus black and white removes the kind of Neo-reality I seek in movies.

Paths of Glory is an exception to my overly rigid qualifications. Stanley Kubrick delivers a simply outstanding movie that doesn’t feel dramatically dated.

Similar to The Killing, Paths of Glory boasts a sharp, clean black and white environment. This look accentuates the brutality and systematic destruction of trench warfare. Kubrick’s closeup shots of battered and traumatized soldiers further this theme. They appear dazed and almost corpse-like as death swirls around them.

The movie’s sounds contribute to this mayhem. Continuous bomb blasts create a jarring effect – jolting soldiers and rattling debris from the trench walls. Boldly advancing through this chaos is Kirk Douglass’ Colonel Dax, whose natural poise and calm establish him as a genuine leader – rather than a stock figure of empty heroism.

Douglass’ walk through the trenches is the stuff of movie legends. Kubrick employs a single, winding tracking shot – before Douglass disappears into a cloud of smoke. There is no compromise in Dax’s character – only the resolve of a man trying to accomplish an impossible mission that will likely kill the men he’s responsible for leading.

He ignores the battlefield cacophony, which accelerates as he leads the charge, blowing a screeching whistle. A sensory riot ensues – blasts, bodies falling, confusion reigns. Yet this brilliantly captured action – realistic and detailed in its futility – only introduces a bigger battle that ensues in a makeshift military courtroom.

Paths of Glory is a war movie that makes an extraordinary statement regarding the political, personal and bureaucratic motives that ultimately cause human destruction.

The movie opens with Adolph Menjou’s General Broulard trying to convince George Macready’s General Mireau to undertake a mission that could expose his 8000 troops. Initially, Mireau refuses – citing his duty to protect his troops.

A fascinating cat and mouse dialogue develops. Macready’s stoicism is chipped away by Menjou’s measured persistence. Broulard appeals to his colleague’s sense of duty first – his ambition last. When a promotion is dangled in front of him, Mireau gladly volunteers his troops for combat.

The failure of the mission stings Mireau and he quickly looks for a scapegoat. Three soldiers – each representing a division of Dax’s unit – are selected to be courtmartialed. These characters are an intriguing trio – and the actors portraying them give dynamic performances.

Ralph Meeker plays Corporal Paris, a weary, disillusioned soldier who is under the drunken watch of Wayne Morris’ Lieutenant Roget. Roget’s cowardice consumes him and he abandons a surveillance mission, which leaves a solider dead. Paris finds himself caught between the truth of the incident and the reality of a military chain of command. When Broulard demands a fall guy, Roget quickly offers up Paris.

Meeker is fascinating as Paris. He’s caught somewhere between rugged hero and helpless child. He’s physically imposing – his presence is impressive. There’s a danger about him that is castrated by the unjust situation he finds himself in. Awaiting the firing squad, Paris brutally knocks out Joe Turkel’s Private Arnaud. He later laments not having a sexual thought since the trial started – then crumples onto the ground, sobbing.

Turkel’s Arnaud is the most cerebral of the three. Early in the movie, he tries to engage Paris in an existential debate regarding warfare. Meeker’s Paris responds: “you’re too smart for me, Professor. All I know is I don’t want to die.” As execution draws near, Arnaud’s intellectual armor is replaced with rage.

In a terrific scene, Arnaud spars with Emile Meyer’s Father Dupree, who is delivering last rites. It’s a vicious takedown of the hypocrisy of religion. A drunken Arnaud blasts Dupree’s values and proclaims wine as a more apt religion. He charges Dupree before Meeker’s Paris lays him out with a vicious punch.

The most memorable of the three actors is Timothy Carey, who plays Private Ferol. While Paris was picked because of his feud with Roget, and Arnaud was a random selection – Ferol reveals: “I was picked because I was a social undesirable.”

Carey is mesmerizing. His gloomy, hangdog demeanor draws empathy but also leaves an unsettling residue. He towers over all other actors but buzzes with insecurity. Carey looks like he’s ready to crawl out of his body – he speaks with a wobbly, sinister drawl.

Yet there’s a unique vulnerability in Carey’s character. Ferol is aloof – even cavalier – after meeting with Dax. Meeker’s Paris shows envy for a cockroach’s freedom. It gets squashed – Ferol deadpans: “now you got the edge on him.” However, when Father Dupree appears, the clarity of the situation is revealed. Ferol turns into a sobbing mess.

Of course, Paths of Glory is Kirk Douglass’ movie. There’s a reason Douglass is a star: he commands the audience with his quiet intensity. The control he has over his body is impeccable. At times dealing with Macready’s Mireau, his Dax is brimming with rage – you can feel Douglass trying to contain raw emotion. He’s about to explode.

While his walk through the trenches is the show stealing scene, Douglass’ best work comes in defending the soldiers during the court martial. There’s a Catch-22 quality to the prosecution, as the trial proves to be a sham. Douglass’s Dax balances incredulity with an ironic defense of justice – he skillfully demonstrates the hypocrisy of the event.

Kubrick deftly alternates scenes to show the tragic effects of administrative decisions. The allure of a promotion causes Mireau to endanger his troops. The failure of the mission leads to the death of more innocent men. Following the execution, he gathers for a lunch with Dax and Broulard. Mireau offers a bureaucratic spin: “Dax’s men died very well.”

Mireau is mired in controversy after it’s revealed he tried to fire on his own troops in a motivational tactic. Now, Broulard sees an opportunist in Dax and offers him Mireau’s post. Finally, we see the simmering fury unleashed – Douglass stalks Menjou, pouncing on him when the General compares his motives to Mireau’s. It’s a terrific, satisfying rejection of a broken system.

The BEST – Soldiers That Look Like Soldiers

There’s an understated realism in Paths of Glory provided by the mostly anonymous extras portraying soldiers. Too many war movies feature actors who actively seek the camera. It’s refreshing to find actors who are not conscious of the process. There are several moments where the extras don’t seem to anticipate explosions – or are genuinely surprised by the leading actors’ appearances.

All of these touches – intentional or not – contribute to an edgy realism that sets the movie apart.

The BEST Part 2 – That Final Song

The final scene sees Dax’s men gather in a pub. They are rowdy and cat-calling a shy, young German singer. Moments later, her tender song leaves most of the men in tears.

The BEST Part 3 – Wormy Villains

Wayne Morris and George Macready are spectacular respectively portraying the cowardly Morris and devious Macready. Morris shines as he portrays both Roget’s drunken abandon and fragile psyche. Macready gives a master class in acting – as his Mireau feigns control over a situation that is slowly unraveling.

The WORST – So These Guys are French, Right?

I have few gripes about this movie – but this one is kind of obvious.

FOX FORCE FIVE RATING -4.5/5

Paths of Glory is an excellent movie. Kubrick presents a stunning visceral theater of war, which is then used to create a narrative highlighting the tragedy of ambition. The acting is tremendous – nearly every role is played flawlessly and the look and sensory experience is phenomenal.