Skip to main content

All Quiet On The Western Front

Director: Lewis Milestone
Year: 1930
Run-time: 2 hr 13 min
Source: Amazon Video

Wikipedia

Notable for:  As a direct adaptation of the German author Remarque's now-classic novel, it's a much more explicit and compelling anti-war film than The Big Parade, with which it has a lot in common.  The adaptation is reasonably accurate, although many of the iconic scenes from the book have a more "Hollywood" presentation that is familiar to novel-to-film translations from then to now.  Everything feels a little bit more romantic in a way that the book very intentionally avoids.  The message and themes of the book do remain fairly intact, however.  WWI was largely pointless war with an immense cost, and to make that claim in a big budget production eleven years after the war ended is not a trivial thing.

Verdict: As only the second sound film on this list, it's remarkable how modern it feels, although considering how many later war films have stolen from it, it doesn't feel as fresh as it once did.  It is interesting to see how the German characters have been adapted into various American stereotypes, in particular the character Katczinsky, who has a serene, almost Christ-like presence in the book, but is turned into the wise-cracking veteran (played by Lewis Wolheim, the 1930s equivalent of Ernest Borgnine) in the film.  His character is actually a highlight.  Lew Ayres, who plays the lead character Paul, doesn't fare quite as well.  He has some good moments, but there are a couple scenes where he can't rise to the emotion that's called for.

Perfect Pairing: Of course, it has to be Saving Private Ryan, which was explicitly inspired by this film.  However, that film ultimately carries a different message than Remarque put into his book.  Despite the tremendous violence and loss of life, Spielberg ultimately believes that war brings out the best in men, whereas Remarque believed it was only good for stealing humanity away.

Comments

Popular posts from this blog

簪 (Ornamental Hairpin)

Director: Hiroshi Shimizu Year: 1941 Run-time: 1 hr 15 min - Like The Masseurs And A Woman , this takes place in a mountain spa, and is centered on the characters' drive for escapism. From hindsight, this would seem to be the director's desire to escape the war - one of the characters is apparently a soldier (who is injured by the titular object and kept from returning), although it's barely mentioned. It probably isn't far to read too much historicity into this film. Like its predecessor, it's a short and light glimpse into a few lives meeting in this setting defined by transience. It's less than 80 minutes, but takes a glacial pace in which our thoughts will naturally wander. That's not a criticism - in a way, it helps us relate to the characters, whose thoughts are also returning to the "real world", no matter how much they may wish otherwise.

Fétiche Mascotte (The Mascot)

Director: Ladislas Starevich Year: 1933 Run-time: 26 min Source: Youtube Notable For : The second animated short on the list from 1933 is this stop-motion piece from the Polish-Russian film-maker Ladislas Starevich.  Stop-motion is almost as old as cinema itself (Starevich had been innovating since 1912).  The craft here is as good as any modern film, and Starevich's twisted imagination is on full display, with dolls and household objects coming to life in a dark version of Toy Story.  For animation fans, it almost goes without saying that Starevich was an influence on Jan Svankmajer's work much later. Verdict :  Every frame is a bizarre delight. There didn't seem to be an overarching plan to this work (indeed, it's possible that The Mascot  is an amalgamation of several shorter films featuring the same dog character), and so the film veers from one strange scene to the next, with much of the second half taking place in some kind of tchotchke hell governe...

Le Quai des brumes (Port Of Shadows)

Director: Marcel Carné Year: 1938 Run-time: 1 hr 31 min - This is the first of two Carné films on the list from 1938.  We haven't talked much about French poetic realism, the style pioneered by Pepe le Moko  (also starring Jean Gabin), but this is where that style heavily overlaps with what would become film noir (Wikipedia claims this was one of the first films to be called as such).  The tropes of noir are so heavily associated with post-war depression and malaise that it's pretty shocking to see these same tropes show up before the war - the French government agreed, and even banned this film for a time as not representative of the French spirit.  It's an excellent film, though. From my perspective, both of these early Carné works show clear ties to the Marseilles trilogy - this one, because of the persistent theme of the sea as a place for escape and loss of identity. - I am much more in love with the French acting style of the 30's than I am...