I was curious to watch Aces High as it is one of the few WWI air combat movies we have. I did remember vaguely that some critics didn’t like it at all and wanted to find out for myself. I had the feeling it might not be as good as Der rote Baron aka The Red Baron although that is decidedly more of a guilty pleasure than a movie providing historical accuracy. I was right. Aces High isn’t even remotely as good as Der rote Baron and certainly not on the same level as The Blue Max which depicts a fascinating if revolting character. Unfortunately, it could have been good. It’s a narrow miss. What is particularly annoying is the fact that the flight scenes and the contrast of the combat on the ground and in the air is shown very well. It also shows once more the complacency and inadequacies of the high command. While their pilots are shot down one by one, they sit together, eating, laughing, drinking and gossiping and even deny them parachutes because that would make them week in battle. The movie doesn’t spare us and shows one particularly chilling episode in which we see a pilot falling to a certain death that might have been prevented if he had been given a parachute.
The story is told in a few sentences. Young Lt Croft (Peter Firth) arrives in France after barely 14 hours of flying practice. The CO of the base he has been assigned to is his brother-in-law, Major Gresham (Malcolm McDowell), a man he admires incredibly. He finds Gresham extremely changed. Disillusioned, hardened, distant and a full-blown alcoholic. The rest of the lot is not much better; either they drink or they are shell-shocked. The only nice and cool-headed one seems to be an older officer, Capt. “Uncle” Sinclair (Christopher Plummer).
Gresham cannot spare young Croft and has to take him on dangerous missions right away. The young man enjoys every minute of it. He is naive and enthusiastic.
You will probably think that this doesn’t sound too bad, I agree, it doesn’t but it still isn’t a good movie. Aces High has a big problem with its characters. Apart from Christopher Plummer’s character, they are uninteresting, flat and two-dimensional cardboard figures. This is disappointing because, as said, the air combat scenes are decent, the planes are decent and there is one incidence in which they make a trip to the front line and see a group of blinded soldiers that is quite harrowing. I’m afraid, I can’t rate this any higher than 3/5.
Paths of Glory was forbidden in the UK and in Switzerland until the 70s. French troops disturbed the opening in West Berlin. The movie was forbidden in American cinemas for soldiers. It was forbidden in France during the war in Algeria. It was shown in Paris for the first time in 1975. What’s that telling us? That this is a radical anti-war statement that openly criticizes high command. It is powerful and thought-provoking and absolutely unambiguous as to its goal. I felt a bit uneasy that Kubrick chose to criticize French command. Didn’t he have plenty of opportunities to criticize American command? Be it as it may, Paths of Glory, which is based on a true account, is a great achievement.
The movie opens with the Marseillaise and a voice telling the horrors of WWI, the numbers of soldiers that get killed daily to no avail. The incident on which the movie centers took place in 1916 in France. The movie moves back and forth between the trenches and the high command residing in an elegant Château.
An ambitious general asks of the equally ambitious general Mireau to take a hill, held by German troops, the so-called “Ant Hill”. A highly symbolical name if there ever was one as people are treated no better than ants and wiped out with one simple gesture. When general Mireau informs colonel Dax (Kirk Douglas) of the order to attack the ant-hill, he is met with incredulity. Dax tells him that it is impossible and will cost an incredible amount of lives. The answer is a sarcastic calculation. 65% of the men will not survive and the outcome is not even sure. Dax wants to refuse the order but is threatened to be replaced.
The futility of the attack becomes obvious right away. Dax fights in the front line with his men who die one after the other. He and many others retreat after seeing that they can’t make it. Many stayed in the trenches, knowing damn well they would be killed and nothing could be won. Seeing the men’s reluctance to run into certain death, general Mireau orders to open fire on them but the officer who receives the order refuses.
The frustrated general then orders a court-martial. Three men are chosen in lieu of all the others and accused of cowardice. Colonel Dax, a lawyer in civilian life, takes up their defence. Like the court-martial in Breaker Morant, this is a pure sham.
Kubrick’s movie has a lot of interesting elements. Colonel Dax is one of the great war movie characters. A officer of high moral standards, free of carrerism and ambition, a just and human being. Kirk Douglas was very well-chosen for this role. He is very believable and gives a great performance.
The contrasts between the high command who is far from the action and thinks they can mock simple soldiers who are afraid, slap those who show signs of shell-shock and judge others that refuse to run into certain death, is fantastic. Paths of Glory is one of those movies that has scenes that will stay with you forever because they are emotionally true and powerful. The utter cynicism of the high command, the way they calculate losses without giving further thought to the fact that each number equals a human being, will make you cringe.
Apparently there is a more recent French TV film Le Pantalon (1996) that quotes Paths of Glory in its major parts.
As much good as I may have said, I had my reservations. I did not understand the use of black and white. The movie doesn’t work so well from a cinematographic point of view. There are not so many contrasts and shadows as there normally are in black and white movies. Even Pork Chop Hill (far less good as a whole) looks much better. Kubrick is famous for the use of colours in his movies… I don’t see it as entirely logical that he didn’t shoot this in color. But that is the only flaw I could find. It still deserves a solid 4.5/5.
I am really glad to be able to dedicate this year’s last review to a movie that came out in 2010. I am also glad that the Australian movie Beneath Hill 60 was one of the biggest surprises of this year. After having watched a few more recent war movies like Everyman’s War and Passchendaele my hopes were not too high. I was wrong. This is a thoroughly good movie in which everything is right. The main story, the accuracy, the flashbacks, the actors, the score, the pictures, all together make a great combination. Last but not least the movie is based on a true story that is maybe not universally known but truly amazing. In 1916 Australian miners were digging tunnels beneath the trenches. The worst of those tunnel systems was located beneath Hill 60, in Belgium. The aim was to blow up the whole hill and the trenches around it. The outcome was the biggest explosion ever. It could be heard as far as London and Dublin.
At the beginning of the movie the men around Captain Oliver Woodward are digging in the tunnels beneath the trenches in France. Woodward is a newbie and as such has to prove himself first. Unfortunately he makes a mistake when he doesn’t realize that the sound one of the miners hears isn’t his own heart but digging sounds of the Germans. The movie is full of suspenseful moments when the digging miners have to stop and listen, if there are Germans close by. Whoever gets a chance will blow up parts of the tunnel system and the fight will rage underground. As claustrophobic as it is inside of the earth, it is still more secure than above. Every time the men get out of the tunnels, they see the madness of the war in the trenches, the constant shelling, the mud, the never-ending rain. The young miners can hardly handle to be outside; they are scared to death.
After his initial misjudgment Woodward soon proves to be more than worthy and he and his team achieve one difficult mission after the other, below and above ground. The story in the tunnels is interspersed with flashbacks. We see Woodward in Australia. He is an engineer with a mining company, freshly returned from Papua New Guinea. There is of course a love story but it is far from schmaltzy and just emphasizes Woodward’s character. He is gentle, intelligent, very able and has a great sense of humour. Newer war movies often operate with such flashbacks and mostly they are not successful. The flashbacks disrupt the movie and add a sugar-coating that is hard to swallow. This is not the case here. It’s a great diversion from the rest of the movie that shows mostly very dark scenes in the tunnels. Some of the tunnels are constantly under the threat to be flooded and water is dripping endlessly. A good sound system does come in handy. The sound effects are absolutely brilliant. Honestly, you will check your cupboards, to make sure, they didn’t start leaking.
The camaraderie between these fine men is depicted in a nice way, and every loss is felt by the spectator as well.
As far as setting goes, this is one of the most extreme. The men are in these tunnel systems almost day and night. Anything more claustrophobic is hard to imagine.
I would really urge you to watch this film. It is certainly the best that came out this year, and maybe one of the best of the decade. Australian filmmaking proves once more what it is capable of. The film director knew how to combine a well-told true story with the right amount of emotion. I couldn’t find the tiniest flaw.
What took me so long to watch La grande illusion one of the greatest masterpieces of French cinema? Jean Renoir’s black and white movie is simply one of the best movies I have ever seen, regardless of any genre. It combines so many elements, to enumerate them all would make a long list. Compared to La grande illusion every other POW movie seems to be just a remake. Every element of later films is already there but the message is a different one. This is a movie that probably wouldn’t have been possible with the same core message after WWII. When Renoir shot his movie, there was still ample room for positive German figures. We don’t see any nasty or cruel guards. La grande illusion is a work of poetical realism. The two points of view go hand in hand.
The central story is the story of two officers Maréchal (Jean Gabin), a simple mechanic, and de Boeldieu (Pierre Fresnay), an aristocrat, shot down together over Germany. They are brought to a prison camp where, thanks to the food parcels of one of their rich Jewish fellow officers, they live relatively luxuriously while the German guards eat cabbage day in and day out. The people they are sharing a room with have been digging a tunnel for weeks. While waiting for the tunnel to be finished, they spend their days rehearsing for a theater play, dreaming of women and civilian life. When Maréchal announces that Douaumont has fallen, they all sing the Marseillaise together. Maréchal is locked up for this act of instigation and almost goes mad in isolation.
Before they can put the tunnel to use, they are all sent to another camp. After different attempts to escape, Maréchal and Boeldieu are brought to burg Wintersheim. Officer von Rauffenstein (Erich von Stroheim) whom they have met before is in charge of the burg. Von Stroheim as Rauffenstein is one of the most memorable war movie characters. He has fairytale like, fantastic aspects. Von Rauffenstein has been badly wounded, his spine has twice been broken, he has silver plates in his body and wears a corset. He looks like an artificial being. He is an aristocrat through and through and recognizing the same background and upbringing in Boeldieu he takes an intense liking to him. Boeldieu, even though, stiff and formal as Maréchal often says, feels closer to the simple officers and wants to transcend the class differences. Even though he likes von Rauffenstein a lot, he still helps the other prisoners in their attempt to flee. Maréchal and Rosenthal make it and find refuge on the farm of a German widow (Dita Parlo). They cannot stay but Maréchal and Elsa still dream of meeting again after the war.
Renoir chose deliberately to show no violence. The war is spoken of, we never see it. His aim was to show a world that transcends differences. This is socialism of the purest kind, the one, that unfortunately only ever existed as an idea. Renoir wanted to show in how many ways people of different classes and nationalities are alike. The French prisoners make fun of the Germans’ constant repeating “Das ist strengstens verboten (strictly forbidden)”. It’s like a running gag all through the movie. A ritual. The Germans try to coerce the French and the French in excahnge make fun of them. Contrasting the attitudes of France and Germany towards obedience is one that we find in many older movies. It is also symbolised in all the interdictions that we see in the movie and in the barbed wire and fences. It’s a very funny movie at times. Fun that stems from the contrasts of the different classes and their use of language. The late, great Jean Gabin was always an outstanding actor, but here, as Maréchal, the simple mechanic, born in the 20th arrondissement of Paris (pure working class), he surpasses himself. I really don’t know how they did the subtitles for this movie as they speak rapidly (I did watch the French version). Judging from the trailer, parts of the dialogues have been left out, nuances have been flattened. That is a pity. The use of dialogue and languages throughout the movie is a very realistic one. Germans speak German, French speak French, English speak English. Working class people speak like working class people, and the aristocrats like aristocrats.
As I said before, I don’t think a movie like this would have been possible after WWII. The illusion that everybody is the same at heart was shattered by then.
The illusion in the title apparently refers to the illusion of the class system. But I think there is another interpretation. Towards the end Maréchal says “We have to finish this war and hope that it was the last one” upon which Rosenthal utters something like “That is just an illusion, old man”. In 1937 is was already obvious that peace wouldn’t last forever.
La Grande Illusion is a movie that every cinephile needs to watch and possibly re-watch as it is multilayered and full of symbolism. Truly a work of art.
This is not only the best of the three movies on the theme Christmas in War Movies that I have reviewed but it is one of my Top 10 favourite war movies. And definitely the one, with L’armée du crime aka Army of Crime, that is closest to my heart.
Merry Christmas aka Joyeux Noël is based on a true event, the so-called “Little Peace during the Great War”. It’s a multinational co-prodcution, in three languages, English, French and German, filmed by the French writer and film director Christian Carion. One of the most European movies of all time. It portrays cultural differences of the involved parties in a truly amazing way. It is one of the most outstanding anti-war movies and achieves to make a profound pacifist and humanist statement.
Pretty much like Stalingrad, Joyeux Noël focuses on very few people. At the heart of the movie are the soldiers in the German, French and Scottish trenches. The central figures are the three lieutenants of the respective trenches, and one or two of their soldiers.
After endless days of shelling, Christmas 1914 arrives. The soldiers in the three enemy trenches are having their Christmas meals. A simple meal, accompanied by a lot of whisky, in the Scottish trench, hundreds of Christmas trees and a frugal meal in the German trench and nicely laid tables, candles, wine and a sophisticated meal in the French trenches. Towards the end of the meal, the Scots start to sing and play the bagpipes. The German’s are startled at first and finally join in. Amongst their ranks is a soldier who was a famous opera singer (Benno Fürmann) in his civilian life. He leaves the German trench with a Christmas tree and walks singing into no man’s land until his angered lieutenant follows him. Meanwhile, the Scottish lieutetnant has also left the trench and approaches them. For the sake of the evening and their men, they discuss a ceasefire. All this time the French look at this with wonder and utter puzzlement, until their lieutenant joins in as well and they all agree on the ceasefire. The evening is spent with a mass (Gary Lewis is fantastic as the priest) and the fiancée (the very beautiful Diane Kruger) of the opera singe,r who has been there for this evening, sings for them. They also share food, drinks and get to know each other.
The next day they have a hard time going back to the normal routine of shooting at each other. They first agree on letting each other bury their dead and then start playing football until the shelling starts again. The Germans start first and so all the soldiers are allowed to seek refuge in the German trench.
The commanders of the three armies hear of this and all the involved parties are severely punished. If they hadn’t been so numerous they would have been shot.
What I liked the most about this movie is how emotional it is. Carion says in an interview that he wanted to remind us of this little miracle and to really experience it. He states that he is a pacifist and a humanist, in the sense of believing in human values. The choice of the three lieutenants was extremely important in conveying this. If I ever do a post on the most likable commanding officers in war movies, those three are all going to be on it. My personal favourite is the French lieutenant Audebert, played by Guillaume Canet. The choice of such a sensitive and fragile actor was a stroke of genius. The German Daniel Brühl is very good too, and so is the Scottish actor Alex Ferns, but they do not have the versatility of Canet. Lieutenant Audebert is a very determined but just and utterly emotional commander. He throws up at the beginning of the battle but still manges to give strength to his people, to guide them. Apart from Platoon’s Sgt Elias, Audebert is the most touching soldier I have ever seen. Brühl as Horstmayer is the most complex of the three, the only one who speaks all three languages and changes considerably during the movie. Ferns as Gordon is the one that men would want as their mate.
An absolutely outstanding aspect of the movie is the way it renders the differences of the trenches that do mirror the differences of the mentalities of the parties involved. This might seem clichéd for an outsider but if you are familiar with the cultures of those countries and know something about the life in the trenches you will notice how highly accurate it is.
The British trenches had the reputation of being very shoddy and muddy, whereas the Germans transformed theirs into real homes. The French on their side had the best food and coffee. The trench system is very complicated and the narrow steep walls didn’t allow outside orientation, that’s why they had a system of signs that showed them where which enemy was. We see the sign “Rosbif land” in the French and “Froggy trench” in the Scottish trench which is very accurate and funny.
It is after all also a humorous movie, especially in the French and the Scottish parts. The Germans are shown as more sober. One of the nicest touches of the movie is the story of the trench cat. Each trench believes the ginger tom is theirs. At the end of the movie the cat is caught with a bit of cardboard around the neck. He has become a messenger between the trenches and is duly arrested for high treason.
If someone wanted to get familiar with war movies or never has seen one, Merry Christmas is the war movie I would recommend he or she should watch. There is everything in it: tears and laughter, despair and hope, misery and joy, combat and trench life, criticism of the high command, class differences and a love story thrown in for good measure. 5/5
I couldn’t find an English trailer and attached a scene instead.
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