Paths of Glory

**A short and objective film, with a clear and still relevant message, as well as a huge performance by Kirk Douglas.** There are several films about World War I, but it is far from being seen by the public as one of the best. In fact, it seems to me a little forgotten today. It is, however, timely and current in its pacifist message in which the greatest absurdity of war is emphasized in a partially true story, in which a group of three French soldiers is shot by cowardice after joining an inglorious attack to a much stronger and prepared German position. Stanley Kubrick is a director to which no one gets indifferent: either if he loves or hates. He seems to have enjoyed fostering this by choosing hard themes, uncomfortable and debatable movies. This is just one more, and I, who loved some of his movies just as I hated others, decided to put this movie in the middle of the table. It is much more direct and easy to understand than most of his later work, but is nonetheless uncomfortable for the questions raised. For example, the contrasts between the ordinary soldier, mud in a trench and subject to die like an animal, and the generals, kilometers in the rear, in beautiful palaces where there is not a single shot. Intelligently, Kubrick focuses on the obvious injustice of punishment as proof of the inhuman absurdity of war and military leaders. Thus, the movie is simple, direct, short (not even one and a half hours) and abrasive. Black-and-white cinematography is very clear, luminous and works a lot of light and shadow. The edition is effective and the soundtrack almost imperceptible for discretion. The sets and costumes are worthy of a large production. However, there are no action and combat scenes do not focus on the intensity of the fight, but its most human side. It is another perspective of war: those looking for action will not have what they want, but who wants a deeper movie has a full plate here. Kirk Douglas is the protagonist, embodying a colonel who is responsible for carrying out the defense of the military under trial. The efforts he desperately leads to the last instances are notable, but as the sentence was predetermined, the court is a sordid masquerade. Douglas begins to be cordial and contained, an officer at the orders, part of the gear, but gradually changes as his character is confronted with all that brutality, and this is really a meritorious effort for any actor. I don't know his work well yet, but I wouldn't surprise me if this was one of Douglas's best movies. Unfortunately, and without disregard for Adolphe Menjou and Joe Turkel's efforts, the rest of the cast does not accompany him at all.