Paths of Glory (1957) Kubrick’s Antiwar Masterpiece in 4K (Review)

Eureka’s Masters of Cinema series was formative in developing my knowledge and love of cinema. I glance over at my collection and think of how Eureka introduced me to F.W Murnau’s Tabu, Douglas Sirk’s The Tarnished Angels and a host of lesser seen Billy Wilder films. I associate that Masters of Cinema series with the wide-eyed wonder of discovery, which feels apt because Eureka’s 4K Ultra HD Blu-Ray release of Stanley Kubrick’s Paths of Glory feels like watching the film for the first time all over again. 

In Paths of Glory Power-hungry Brigadier General Mireau (George Macready) is persuaded to take on the impossible mission of taking a well-defended German position by Major General Broulard (Adolphe Menjou) after its suggested the mission’s success would lead to promotion. Colonel Dax (Kirk Douglas) urges Mireau to reconsider, but is forced to lead the French Army into a battle which ends in inevitable disaster and considerable loss for the French army. When Mireau demands that the failing soldiers be charged with cowardice, Dax unsuccessfully offers himself up as tribute and the three failing regiments are instructed to offer up one man each. Arnaud (Joseph Turkel) is drawn at random, Ferol (Timothy Carey) is picked for being “socially undesirable” and Paris (Ralph Meeker) is chosen by his cowardly Lieutenant Roget (Wayne Morris) as revenge after Paris witnessed him falsifying a report to cover up the fact he killed his own soldier during a mission. Colonel Dax (Kirk Douglas) is compelled to face-off against his superiors and defend the three men who now face the penalty of death. 

Kubrick’s antiwar masterpiece is a miraculous achievement, a film which immerses you in the terror of trench warfare before revealing that true horror lies in callous human nature. It is unshakeable. It is unshakeable no matter how you experience it. I first watched a DVD copy on my tiny TV in University Halls and I vividly remember the feeling in the pit of my stomach as the credits rolled. It has stuck with me as Kubrick’s most emotionally-involving film, the one that fills me with the most rage, disgust and empathy. There has been plenty of excellent writing on the genius of Paths of Glory over the years and even more on Kubrick. I rarely feel I have anything new to add to the conversation, so all I can say is that the 4K release gave me a whole new appreciation for a film I have never stopped feeling. This stunning release shows off the magnificent artistry packed into every frame and watching with such clarity made the film even more overwhelming. 

What struck me this time is how the aspect of class warfare is not only in the story, but in the genius of Kubrick’s blocking and camera work. The wide shot of the famous courtroom scene packs a story’s worth of information into one image. Our three accused lower-ranking men are separated from one another and sat on uncomfortable seats. The uncompromising jury are packed together, governing at great distance from those whose lives they hold in their hands. Mireau lounges carelessly on a sofa that has been brought in specifically for him, while another high ranking officer lounges on a throne during a trial where men’s lives are at stake. It couldn’t be clearer from the design and blocking alone how little these men regard the lives of those beneath them in the hierarchy. 

There’s a remarkable tracking shot that follows Dax as he paces back and forth and makes his plea of defence. Kirk Douglas gives a powerhouse performance, opening with his shame of being part of the human race, protesting the authenticity of the court and claiming to the jury that “to find these men guilty would be a crime to haunt each of you to the day you die.” My jaw dropped the next time Kubrick uses a tracking shot on this scale, as his camera moves through a lavish ballroom banquet, where the French Major is fine dining and dancing with French aristocrats and other high-ranking officers. The juxtaposition is horrifying. These scenes, which are connected by camera movement, happen ten minutes apart, but they might as well follow on from each other because it answers Dax’s accusation plainly. Not one member of the ruling elite in this room is going to be remotely haunted by these crimes. In fact, they’re not even thinking about it, they’re too busy indulging in a life that is out of reach for those on the frontline. 

If it sounds eerily familiar to our present situation in Britain, I think that speaks to the enduring and ongoing impact of Paths of Glory. I cannot recommend this release enough, it is the perfect opportunity to revisit one of the best films of all time. 

The Special Features include an audio commentary with Adrian Martin, which I found to be both incredibly insightful and another useful exercise in appreciating Kubrick’s imagery. There are video interviews with Kubrick scholar Peter Kramer and well-known filmmaker Richard Ayoade, as well as an interview with critic / author Richard Combs. A collector’s booklet featuring writing by Glenn Kenny and Colin Young, illustrated with archival imagery. 

Jimmy’s Archive – Paths of Glory