Contrarian themes in the film Paths of Glory (1957) Essay Example

sacrifice, even if it proved fatal. But Paths of Glory spun around this idea and projected glory in an altogether new light. Here, glory would represent the refusal to act on official orders, and instead act on moral convictions. (Stam, 2000, p.14) This message is not easy for the audience to digest, for America’s participation in the Great War was seen as an act of moral responsibility by a majority of its citizens. (Belton, 1994, p.170)

Moreover, the film captures the conflicting interests of the officers and the soldiers in real battle situations. Behind the facade of unity (as most war propaganda would have people believe) officers can at times deliberately put the lives of their subordinates at jeopardy. This is evident in the film, as French General Mireau (played by George Macready), orders his division to embark upon a suicidal mission to capture a strongly en-forted German position. As this move would earn Mireau a promotion, he was bent on acting solely for self gain, as against the spirit of unity that is expected in military divisions. (Suid, 2002, p.748) The film will have to be lauded for showing these bitter internal political realities within a major national institution such as a military in the backdrop of the heat, chaos and intrigue of war. The director pulls off this feat as realistically as possible. Where other movies would evade or underplay such uncomforting truths, Paths of Glory bravely took on a commitment to ground realities. (Altman, 1999, p.14)

Colonel Dax (played by Kirk Douglas) is the hero of the film, as he sees to protecting soldiers

under his charge from the selfish designs of General Mireau. As a way of deflecting blame from himself, Mireau orders the Court Martial of 100 of his soldiers (later reduced to 3) for cowardice and refusal to obey orders. It is at this juncture that the denouement of the film unfolds, as Colonel Dax (who served as a civilian lawyer prior to his military engagement) takes up the cause of the hapless soldiers and defends their case. Director Stanley Kubrick makes yet another bold statement via his realistic portrayal of the dynamics of power. Although Court Martial are supposed to conform to commonly accepted principles of jurisprudence, fairness, justice and due process of law, in the case the three unfortunate soldiers who are sentenced to death (essentially summarily after the farcical ‘trial’). (Clarke, 2006, p.112)

Hence, in conclusion, Paths of Glory is satisfactory in terms of aesthetics, screenplay, dialogue and story. But where it excels most is in the unconventional thematic elements it incorporates. It also excels in giving new meanings and interpretations to the concept of ‘glory’ in war. It’s contrarian view of glory, largely showcased through the character of Colonel Dax, leaves a lasting impression on the discerning and thoughtful viewer.

Works Cited:

Primary Resource:

Directed by Stanley Kubrick, Paths of Glory (1957), Bryna Productions, Distributed by United Artists, United States.

Secondary Resources:

Altman, Rick. Film/Genre . BFI Publishing (1999). ISBN 0-85170-717-3; ISBN 978-0-85170-717-4

Belton, John. American Cinema/American Culture. New York: McGraw-Hill, 1994, pp. 165-171, ISBN 978-0070044661.

Kane, Kathryn. “The World War II Combat Film”. In: Wes D. Gehring (ed.) Handbook of American Film Genres. New

York: Greenwood Press, 1988, pp. 90-91, ISBN 978-0313247156.

Clarke, James (2006). War Films. Virgin Books. ISBN 9780753510940

Grant, Barry Keith. Film Genre: From Iconography to Ideology. Wallflower Press: 2007.

Suid, Lawrence (2002). Guts & Glory: The Making of the American Military Image in Film (2 ed.). University Press of Kentucky. pp. 748.ISBN 0813190185, 978-0813190181. Retrieved 2/12/2009.

Stam, Robert. Film Theory: An Introduction. Malde, MA: Wiley-Blackwell, 2000. 14