Paths of Glory was originally written as a novel by Humphrey Cobb, a story which would turn into one of the greatest war movie classics made in the 50’s. Considered to be one among the most potent movies directed by Stanley Kubrick, this black and white close up at the politics of war has had audiences cringing for nearly half a century. Based on the French army’s efforts against the Germans during World War I, the movie takes a different turn then most war stories, examining the enemy from within, rather than those outside.
The plot begins with a proposed addition of another star to a general’s rank, and a suicidal plan for attack against the Germans to attempt to please the public. Without regard to practicality, the French General Staff orders an attack on a highly fortified area to boost public morale after a long stalemate with the enemy. Their brash decision puts a weakened and worn-torn regiment at risk with no back up, and no time to prepare. And so begins a recipe for disaster.
The film takes a subtle, and realistic by today’s standards, approach to the telling of a war story. The characters drive the plot forward without prompt from the external enemy, but rather from the inhumane judgments and justifications of their own seats of power. A depth exists in every private, general, and rank in between, along with the interactions between them. This is why the movie is a popular choice for teachers to assign their students to analyze and write about it for critical thinking.
The plight of Colonel Dax to defend the lives, honor, and rights of his troops is among the most heroic ventures a character can take. When the attack fails, as the Colonel and every soldier involved predicts, the General points to the troops themselves as the cause for their acts of cowardice. With the random assignment of three soldiers to take the fall for the entire regiment, the main hook of the story begins, and a court hearing begins to decide their fate.
As with all black and white films from the time, use of lighting and color gradient (how dark an object appears when turned into gray instead of color) are the most important aspects to creating the visual experience. Even without the modern use of CGI effects, let alone color, good directing and cinematography can depict a range of emotion just as deep in black and white film as any other medium. Kubrick uses the dense blackness of the trench scene at night to instill fear, and the spotty lighting of Colonel Dax’s bunker to present doubt when the General delivers the order.
One of the only noticeable flaws a person of today may find curious about the film is an artifact from the times and the limits with which movie makers were faced. The opening scene watches as the general and his superior discuss the radical plan concocted by the French General Staff, choreographed as a progressive movement throughout the general’s room. The purpose of this was to accommodate for the limitation number of cameras and angles they were able to achieve. The actors’ pacing kept the scene interesting and active during long bouts of dialogue and information revealing.
By following the story of three soldiers doomed to death by their superiors for unjust causes, the French and many other European countries banned the movie for many years before cultural policies on such material loosened. Film critics acclaim it as the first challenger to the idea that war is completely honorable and glorious. The ironic and emotional journey the plot takes leave audiences with both warnings and questions about those in power, and the motives behind making enemies out of those who should be allies.
Although Paths of Glory did not make a large profit upon its release, it remains a potent classic in film history for all time. Teachers of many liberal art subjects show the film to their students to discuss the moral dilemmas and valiant versus selfish motives. While many war movies may have their glory day come and go, the underrated tale of Paths of Glory sticks around as a time honored classic any film appreciator should see.
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