Paths of Glory óóóó

Kubrick is obviously considered to be one of the great directors and so I needed little encouragement to watch another of his films, but I was particularly interested in 'Paths of Glory' as it was one of his earliest features. I was expecting to see a movie which at its best would give flashes of brilliance as an indication as to the talent of the director, but at its worst would meander and stumble along as a young Kubrick learned his craft. What 'Paths of Glory' actually turned out to be was remarkable.

The film begins in a generals office which is a stately home that has been commandeered during the first world war. Chandeliers adorn the ceilings and huge works of art are lavishly draped on all walls. The effect of this is to heighten our sense of shock and despair when we are thrown into the trenches of the French army during battle.

Kubrick managed to create a dystopian landscape and oppressive atmosphere with a limited budget, that has stood the test of time. Even by todays standards the water filled trenches, baron no-mans land, and demoralized soldiers were thoroughly convincing, and fully immersed the audience in the heat of the battle. This is no better demonstrated than when Kirk Douglas leads his troops over the top of their trench to what was surely certain death. This was one of the strongest scenes in the whole film as not only does it look as accurate as a WWI documentary, the incessant wall of sound created as the artillery rains down upon the soldiers gives the audience a very real sense of what it must have been like.

Interwoven with the excitement of the war is a delicate but ironic story of cowardice and bravey. The futility of the war and helplessness of the soldiers is the main focus of the latter half of the film as the consequences of the military attack unfold. Paths of Glory began at the sharp end of military action, but then moves on to the political wrangling that occurred behind closed doors.

The fact that this film was banned in France for its negative portrayal of their army gives an indication of the quality of 'Paths of Glory'. This film was not the experimental project that I was expecting of an early Kubrick picture, but in fact an agile and gripping war film. It manages to masterfully capture not only the sprawling magnitude of a military machine, but also the fragility of emotions of a few unfortunate men. What is evident, is that Kubrick was the completed article at 29 years old, bordering on genius.

So, if you ever see Kirk Douglas face staring sternly at you from the video shop shelf, I would not hesitate in picking it up! An exciting action film, but one with a refreshing amount of depth, which sadly reminds you that they just don't make them like this any more!

Reviewed by TimjBart

The Third Man óóóó

From the moment the zither abrasively chimes out the famous theme tune, The Third Man encapsulates the audience into a world of intrigue. Set in post-war Vienna, this film conveys the complex atmosphere of the time and interweaves it with a classic mystery story that leaves you guessing at every step.

A narrator introduces us to the protagonist, Mr Holly Martins, who has just arrived from America at the invitation of a lifelong friend Harry Lime. However, when he gets to Lime’s apartment, he is informed that his friend is dead. Martins then travels to the funeral at the cemetery where he meets Major Calloway, an oily smooth British soldier with an immaculate accent who offers him a drink and tells him to back to the US. From this moment the plot never slows down as we follow Martin’s investigation into Harry Lime’s death. He learns of the suspicious circumstances and sets about finding all the facts, but encounters resistance all the way.

Each and every character is full of intrigue and appear to be hiding secrets that could lead to the truth, and so you feel fully involved in trying to solve the case yourself. Each caricature, from the shifty eyed ‘Baron’ Kurtz to the withdrawn Dr. Winkel, have their part to play and deliberately obfuscate the circumstances which exaggerates sense of drama.
The Third Man has a dreamy quality throughout, which is partly achieved through the daring shot selections that were never even attempted before Citizen Kane. For example, the camera is often slanted (think Adam West Batman’s villains) to keep the audience slightly off balance and add to the general atmosphere of confusion. It is also, I presume, reminiscent of the feeling inside the Vienna Ferris wheel, which appears in a poignant latter scene.

Setting the story against the backdrop of a post-war Vienna was a masterstroke from the author of the original book and screenplay, Graham Greene. Virtually every building in each street is jar-droppingly spectacular, and the director does the city justice at every stage of the film. Its historical refined beauty is juxtaposed by huge piles of rubble and burnt out cars which are the legacy of the conflict. We explore the surroundings during the on-foot chases which occur at several stages. Choosing to shoot in monochrome also enhances this film and Welles himself commented upon it being a brilliant decision. In black and white, we are treated to the eerie spectacle of Vienna draped in shadow to reflect the dark underworld just out of view from society at large. Also, the result is a visual clarity which contrasts the subject matter of morality and corruption.

This film was written and directed by Englishmen, and made by a British studio which is good a reason to be proud of it’s position as one of the great classic films. A 60 year old film may not be to everyone’s taste, but not watching it will mean missing out on a piece of history. Each key person involved in the film was at the height of their power, and this culmination of all their talent, produced The Third Man.

Reviewed by TimjBart

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