Films and the First World War - Movie Review Example

Film and the First World War: "All Quiet on the Western Front", "Joyeux Noel" "Grand Illusion" and "Paths of Glory" Introduction Throughout the history of cinema war has been a constant topic. From “Birth of a Nation and the Civil War to “Three Kings” and operation Desert Storm men (and women) at war has provided fodder for filmmakers. The following brief discussion will focus on the First World War and four of the most famous films about the war to end all wars: "All Quiet on the Western Front", "Joyeux Noel" "Grand Illusion" and "Paths of Glory". Initially, the plots will be briefly summarized. Then significant themes and symbols will be identified in each film. Subsequently, the films will be analyzed to determine what they are saying about the First World War and war in general. Once these various elements have been identified the final section of this discussion will compare and contrast the films. The Plots "All Quiet on the Western Front" is a reasonably faithful film treatment of the anti-war novel of the same name by First World War veteran Erich Maria Remarque. It follows the military career of Paul Baumer who enlists as an idealistic student and abruptly finds himself thrown into the mind-numbing morass of the trenches on the Western Front. "Joyeux Noel" is a Christmas movie with a twist. Based on actual events it documents the 1915 Christmas Truce that saw German troops decorate their trenches and barbed wire entanglements and singing Christmas carols across No Mans Land on Christmas eve. On Christmas Day thousands of troops on both sides of No-Mans Land left the trenches and exchanged gifts, food cigarettes and alcohol. As in the film, higher ups were furious, and the organizers of future truces (notably Easter 1916) were also punished. “Grand Illusion” moves from the trenches to a prisoner of war camp. It documents the French prisoners repeated attempts to escape and the tragic plan that finally works for two of them but costs the third his life. “Paths of Glory” details a futile attack on the Anthill, a German defensive position, by the 701st Regiment of the French army led by Colonel Dax (Kirk Douglas). The attack fails and ends with executions including that of Corporal Paris who was selected by Lieutenant Roget, principally because Paris knew him as a civilian and dislike him then as he dislikes him now. Notably the films include protagonists in the British, French and German armies, both sides in the war. They also share common themes. The Themes and Symbols All of the films focus on class divisions and class divisions as they persist in wartime between the men in the trenches and the officers, often aristocrats, living in comfort behind the lines. On the other side of the coin, the films highlight the realization among the men in the trenches that the soldiers on the other side of No-Mans Land are more like them than different. In similar fashion the films highlight the kindred sentiments of the men in the trenches and the civilians, on both sides of the front, caught up in the violence and destruction of warfare and their distance from the civilians behind the lines. The differences of note are not between nations but between those at the sharp edge and those living in comfort and safety behind the lines. This theme is most evident in “Paths of Glory”. While the men involved in the attack struggle through the mud up the Anthill amidst explosions and machine gun bullets General Mireau stands immaculately attired in an observation post drinking a toast. However, not only are the high command and the men in the trenches isolated from one another the men in the trenches are actually at risk to the whims of the elite in command. This is true in the sense that they must do the fighting and dying while the high command preen and toast. However, it becomes literally true in the film when General Miro orders the French artillery to shell the trenches of B Company when it refuses to join the advance: “If those little sweethearts wont face German bullets, theyll face French ones!” The poilus have to face death delivered by both the enemy and their own officers. Moreover, the officers are never held culpable for poor planning because it is glossed over by accusing the men of lacking elan and martial spirit. Discussing responsibility for the failure to capture and hold the Anthill General Mireau suggests that one hundred soldiers be shot (like Captain Reynaud in “Casablanca” ordering the gendarmes to “arrest the usual suspects”). When Colonel Dax suggests that if the responsible parties are to be shot then General Mireau should be shot his suggestion is met with less than enthusiasm. The other side of this coin, the sense of fraternity that exists between the men in the trenches on both sides of No-Mans Land is the entire theme of “Joyeaux Noel”. The French, Scottish and Germans all celebrate Christmas. The engulfed in the mind-numbing slaughter and stink of the trenches all want a break. Together, they share the simple pleasures a break from the violence offers; they share cigarettes and cigars, drinks, delicacies and Christmas treats, and caroling. With only their uniforms to differentiate them they discover that there are no differences as the priest, Palmer, celebrates mass for them. Caroling and worshiping together unites the military proletarian at the front far more than their uniforms divide them. However, this is certainly not the case for the Bishop, the high command of the Church who delivers a fire and brimstone hate the Hun speech to the men replacing the bad troops who fraternized in the line: In truth I tell you: the Germans do not act like us, neither do they think like us, for they are not, like us, children of God. Are those who shell cities populated only by civilians the children of God? Are those who advanced armed hiding behind women and children the children of God? With Gods help, you must kill the Germans, good or bad, young or old. Kill every one of them so that it wont have to be done again. This again, returns us to the theme of “Paths of Glory” it is the higher ups in the hierarchy, whether that hierarchy is military or ecclesiastical, who hate the enemy and view them as different. The men in the trenches wearing any uniform share the fate of proletarian everywhere, doing the dirty work (literally and figuratively) and, therefore, are more alike than they are different. In “All Quiet on the Western Front” this is apparent when Paul Bäumer finds himself trapped in a shell hole with a French soldier he has wounded. He weeps and tries to save the life of the French soldier he was recently trying to kill. Enemy or not, live or dead, they are more comrades than enemies. The camaraderie that can exist across the lines is even stronger amongst the men who fight and die together wearing the same uniform while fighting together. These men grow to trust and love one another as they face the threat of death together. In “Grand Illusion” this loyalty persists even amongst prisoners of war. Indeed, even though class differences remain and are a key theme in the film as it reaches its climax their loyalty to one another trumps class and social differences and they are united in their common desire to escape. The dilemma that confronts Lieutenants Maréchal and Rosenthal, and Captain Boeldieu is that there escape plan demands three men, one acting as a sacrificial lamb and remaining behind while the other two escape. Captain Boeldieu, the aristocrat, gives his chance at escape and ultimately his life, so that the two Lieutenants can escape. The message of comrades in arms or a band of brothers is most strongly felt in “All Quiet on the Western Front”.Kat Katczinsky is a father figure to Paul Bäumer and Franz Kemmerich and the three are as close together as a father as his sons, or brothers. There differences in class, education, career and regional origins all vanish as they care for one another amongst the horrors of the trenches of the Western front. Kat is the veteran, the father figure, and he shares his commonsensical wisdom with them to keep them alive. He also uses his earthy talents to keep them all well-fed regardless of the situation. He is a father figure in that he is protective of and provides for his family of younger, less experienced comrades. “"When you see me flop, you flop. Only try to beat me to it,” is a perfect example of the fatherly and commonsensical survival advice he shares with his young charges. The idea of anyone outside of the trenches, not only officers but also civilians in the rear areas, as enemies even if only for their ignorance of the horror and depravity of life in the trenches is also strongest in “All Quiet on the Western Front”. The film opens with the innocent young men (boys really) listening to an impassioned speech from their instructor, Professor Kantorek extolling the virtues of the Fatherland and their sacred duty to join the exciting crusade to defend it. Naively they are persuaded to enlist. They are persuaded to enlist by a man who has no idea of the realities of combat and who will never actually endure the storm of steel that he is persuading his young students to endure. In this sense his totally unrealistic appeals and exalted position as a Professor stand in stark contrast to the loving and protective advice that Kat Katczinsky continually shares with the young men when they do find themselves at the sharp end. The Messages The messages of the four films are almost identical despite their various settings and the various national armies portrayed. The first universal theme is that war is hell and deadly serious. Men will die, in fact they will die in great numbers, in horrible ways and often unknown and unlamented. All of the front line soldiers in the films, regardless of rank or nationality, confront the horrible reality of war. It is true of officers such as Colonel Dax, Lieutenant Gordon, Lieutenant Audiometer, Lieutenant Horsewoman, enlisted men like Paul Baumer and Pierre Barnaul and all of the other front line troops actually doing the dying. The second theme is that these men are a breed apart. They are isolated from, and different then, everyone else who is not at the sharp end. They are a world away from the civilians that encouraged them to join the glorious adventure like Professor Kantorek. They are even different from other men in the military such as the higher ranking officers in their chateaus and observation posts such as General Mireau and le Général and the Crown Prince (in “Joyeaux Noel”). Implicit also in any movie about World War I is the theme that war is futile. World War I was known as the war to end all wars, yet less than two decades after it ended Europe and the world were caught up in a second global conflagration that was even more destructive than the war to end all wars. Appendix 1: Posters La Grande Illusion All Quiet on the Western Front Joyeaux Noel Paths of Glory References "All Quiet on the Western Front", (1930) Director: Lewis Milestone. Lew Ayres, Louis Wolheim, John Wray. "Joyeux Noel". (2005). Director: Christian Carion. Guillaume Canet, Benno Fürmann, Diane Kruger. "Grand Illusion". (1937). Director: Jean Renoir. Pierre Fresnay, Jean Gabin, Dita Parlo, Erich von Stroheim. "Paths of Glory". (1957). Director: Stanley Kubrick. Kirk Douglas, Ralph Meeker, Adolphe Menjou. Read More