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Buy Paths of Glory 1957 Movie Online 1080p, 720p, BRrip and MOV
Crime, Drama, War
IMDB rating:
Stanley Kubrick
Kirk Douglas as Col. Dax
Ralph Meeker as Cpl. Philippe Paris
Adolphe Menjou as Gen. George Broulard
George Macready as Gen. Paul Mireau
Wayne Morris as Lt. Roget / Singing man
Richard Anderson as Maj. Saint-Auban
Joe Turkel as Pvt. Pierre Arnaud (as Joseph Turkel)
Christiane Kubrick as German singer (as Susanne Christian)
Jerry Hausner as Proprietor of cafe
Peter Capell as Narrator of opening sequence / Judge (colonel) of court-martial
Emile Meyer as Father Dupree
Bert Freed as Sgt. Boulanger
Kem Dibbs as Pvt. Lejeune
Timothy Carey as Pvt. Maurice Ferol
Storyline: The futility and irony of the war in the trenches in WWI is shown as a unit commander in the French army must deal with the mutiny of his men and a glory-seeking general after part of his force falls back under fire in an impossible attack.
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720p 1184x720 px 4474 Mb h264 192 Kbps mkv Download
DVD-rip 512x368 px 701 Mb msmpeg4 1167 Kbps avi Download
Not what it used to be.
I was very disappointed by this film, given the accolades it generally receives.

It's not a terrible film, but it seems to me that it probably gained its reputation by dint of the fact that it had an original and very daring take on the military for its day. Obviously it is a matter of personal taste, but for me, I think it wrong to call a film "great" when its "greatness" is closely tied to the particular period in which it was first released. Some films are very much of their time, and "Paths of Glory" seems to me to be one of them. In this day and age, a movie that basically says "war is hell, and many of the men involved in making war are immoral and commit evil acts for selfish reasons; these men appear particularly awful when compared with those courageous men who behave nobly in the face of war" doesn't have the shock value that it did 50 years ago.

Given the lesser impact of this larger message, it is easier to see the seams and flaws in other aspects of the film. To a great extent, the story seems simplistic. The villains are terribly villainous and the victims are terribly noble. We know from the first 2 or 3 scenes everything we are every going to know about the nature of the primary characters. No one really grows or changes. Instead, the story plays out mechanically. The acting is not bad, but it's a bit old-fashioned and stage-y. Similarly, the technical aspects of the trench and battle scenes, while very good for the time, have a dated quality that undercuts the viewer's involvement in the film. Even for a kangaroo court, the trial scene is silly in the grandest tradition of bad, illogical Hollywood trial scenes. (For example, the defendants are being tried for retreating in defiance of their orders. Yet, when one defendant mentions that he retreated because he was ordered to, no one, not even the noble Colonel trying to defend him, picks up on that fact, i.e. that he was, in fact, OBEYING orders.) In the final scene, a captured German girl is paraded and sexually demeaned on stage in front of a group of rowdy soldiers who seem likely to jump her; instead she's asked to sing a song and the soldiers begin to cry and hum along like the nuns backing up Maria in "The Sound of Music." I recognize that this is a movie and that perhaps it was a more innocent time, but in a movie that purports to show us the nasty reality of war, I found it more silly than affecting for Kubrick to suggest that this scenario would end in choral tears rather than assault.

I'm not taking issue with the themes of this film, which are as relevant today as they ever were. Nor am I saying the movie is worthless today. But I am simply unsure that it deserves an on-going reputation as a GREAT film. Some films are born great and stay great, other become great over time. But some films may be born great and then gently fade away -- like old soldiers.
Holds up well enough
I don't mean to beat up on BusterLA regarding the previous critical post ( Not what it used to be)--but I have to disagree with the assertion that "Paths Of Glory" is a dated and too simplistic film. The whole question about how movies hold up over time seems to always be a ripe subject for discussion (and I think misunderstandings). "Paths Of Glory" was released in 1957 and I suppose was slightly ahead of its time--Of course within the next 15 years movies like Catch-22 and M*A*S*H would bring their own anti-war messages -"Paths of Glory" was banned in France until 1975--otherwise I don't think it upset or offended many others at the time. It's a bit more candid than "All Quiet on the Wesern Front" --however that movie was released back in 1930 (do the math). "Paths Of Glory" holds up well not because the theme or particulars are that new or outrageous---but only because it is so well and clearly told (thank you Mr. Kubrick). Please don't confuse clarity for a failure of imagination or creativity.

It's a given in this movie that the officers (except for Dax) represent the dark and cynical side -however- they are not morally bankrupt without explanation--they have a logical agenda of tradition and self interest based on the real (and sometimes mistaken) necessities of war. That everything accrues to their personal ambitions is nothing less than a reflection of "the way it was".

The condemned soldiers are also not just cardboard cutouts given victim status. One soldier is a "social misfit"---one other assaults a priest the night before the execution and another one struggles to maintain his courage and falters more than once.

I am not a big Kirk Douglas fan--however I think he does a fine job here--perhaps a little bit too forcefully heroic--however you will note that there is no attempt to separate him out -- He is- in the end-- just another cog in the machinery of the war---His defiance to the system has real limits.

Finally, I guess I will have to defend the final scene of the movie where French soldiers choose not to humiliate a young German woman. I note that some critics think this scene is jarringly out of place or pointless--however I think it is very effective and speaks well to the subject at hand. Look into the soldiers eyes in that last scene --you can see then that they see themselves in that young girl -they understand her situation only too well. The last scene is put there I think to show that humanity is not automatically and by default cruel and ruthless and corrupt all of the time. The soldiers in the final scene choose to exercise mercy-when given the chance -even against the backdrop of a time and place where the execution of three innocent men is really only incidental trivia in the face of hundreds of others dying in the trenches daily.
A remarkable anti-war film that retains its impact decades after its release.
The film is beautifully performed, staged, photographed, cut and scored. In 1916 in the French trenches, three soldiers are court-martialled for cowardice by officers who want to use their case to instil discipline into the ranks.

Paths Of Glory is an incisive melodrama chiefly depicting the corruption and incompetence of the high command; the plight of the soldiers is less interesting. The trench scenes are unforgettably vivid, and the rest is shot in genuine castles, with resultant difficulties of lighting and recording; the overall result is an overpowering piece of cinema.
What to say that hasn't already been said. This astonishing cinematic work of art (no kidding) unquestionably is the GREATEST FILM EVER - bar none. I deeply and passionately LOVE this brilliant early Kubrick production. Congratulations to expert screenwriters (and unique pulp writers of the 5O's) Calder Willingham (who also penned his own excellent adaptation of "The Strange One"; highly recommended) and Jim Thompson ("The Grifters" "The Killer Inside Me"; which strongly influenced Tarantino), who both present a superbly incisive script with powerfully effective dialogue that really rings more than true. If only we had more real writers and scripts like this remarkable achievement, we'd be writing far more favorable reviews. "Paths of Glory", alone, would serve as anyone's lifetime achievement award.

I don't care how much you HATE B&W films - put this one on your MUST-SEE. Compelling cinema-verite photography creates astounding visuals from a varity of incisive angles; like the famous mobile wide-angle tracking shot of Dax (probably Kirk Douglas's most stirring and important performance) moving through the squalid and horrifying trenches as the battle begins with explosions breaking out all over. The suspense and tension is frightening, but almost beautifully eerie in the most compelling ways as Kubrick takes us through the deadly limbo of no-man's land - the 'paths of glory' which finally leads to the grave. The action, skillfully combined with powerful moral and existential themes are amazingly conveyed through the bleak yet articulately stunning visuals. THIS IS A FILMMAKER'S FILM!

The moral outrage of the sadistic injustice of the military courtmartial never fails to make my blood fully boil. The hypocrisy and corruption is degradingly infuriating. If anything will make a cynic out of you, it's this appropriately pessimistic and depressing cinema chronical based on a true stupid incident in WWI. What's even worse is how POG, in many perceptive ways, serves as an allegory for all the B.S. in real life: Pig-headed leadership in the parasitic hands of the superior greed freaks, two-faced deceptive manipulations, double-standards, backstabbings, social bigotry, arm-chair warriors, egotism, corrupt politics, the militaries's abuse of too much power - and it's destructive desire at satisfying it's lust for vainglory (sounds a little like Hollywood) - Did I leave anything out? You name it, POG has it - and I'm not being sarcastic.

The entire ensemble cast is superb with special mention to George Macready as the utterly pompous power-mad glory-seeking "soldier", General Mireuo (who thinks nothing about ordering his troops to open fire on his own men for not charging out of the trenches and dying for his "country"; which smells a bit like ME ME ME). Don't worry, you'll throughly hate his guts. It truly is true method acting. Again, kudos to Macready, a fine actor who was always too good at playing highly unethical villians. (Incidently, this was a favorite film of a young 195O's Marlon Brando and old salty Winston Churchill, who praised Kubrick's incisive authenticity in the exciting battle scene, which does resemble news footage).

Timothy Carey (also ultra-offbeat-cool in Kubrick's other exceptional early flick, "The Killing") is morbidly humorous and gut-wrenching as one of the poor fools coldly picked to be executed; all in the ruthless 'patriotic' name (and amoral game) of 'glory'. ARE ANY OF OUR LEADERS LISTENING? Too bad that Carey's memorable talents were so underused by Hollywood, but that always seems to be the unfortunate norm. A little like what ironically happens to him in this intriguing but downbeat story.

Ralph Meeker (who was also memorable as the brutal and ruthless Mike Hammer in the 5O's cult gem "Kiss Me Deadly" - a complete opposite role that shows a true range of his acting abilities) delivers another wretching performance as the true brave soldier unjustly sentenced for "Cowardice in the Face of the Enemy". (Maybe he should have turned 'about face', but it would have still been 'damned if he did and damned if he didn't' - another grim moral theme here). His breakdown scene right before he is to be taken out and shot is terribly heartbreaking, for I felt so wanting, but helplessly unable, to come to his help.

Take my word for it, everyone else is awesome; a true actor's dramatic show with dark satirical overtones. POG goes beyond the mere preaching anti-war diatribe (though it does convey that almost naturally, like going without having to say). It's a great classic morality play that will really make you stop (many, many times) and truly make you think (many many times). Airheads not allowed. Moreover, this haunting and disturbing masterpiece is top entertainment, something too many art films aren't. >

It will really make you question things about our troubled, convoluted world and how things are to often immorally and inhumanly run all in the sick name of greed and destructive power. Not too lovely, for the director pulls no punches. This film really has grown more profound (and currently pertinent) since its initial release. Also the editing is taut and concise; there isn't a single wasted moment. Count the number of films on one hand that has accomplished that miraculous feat; that most critics and user commentators are always rightfully harking on. I'll shut up now. Go see this one-of-a-kind film, then see it again - and again, etc. >
Madness and Patsies Crash Together In Kubrick's Explosive Thunderbolt.
Stanley Kubrick's Paths of Glory is holding up rather well these days, in fact it's as pertinent and relevant as ever.

It's 1916 and the French and German armies are in opposing mud trenches, when the French are ordered to undertake a suicidal assault on a German held hill, many of the soldiers are quick to realise it's an impossible order to see through to its conclusion and retreat, something which brings charges of cowardice from the military hierarchy. Someone must take the fall...

Withdrawn from circulation in France at one time, unreleased in Spain as well, Paths of Glory is a shattering indictment on military hierarchy. On those General types who watch from afar through telescopic sights as men and boys are led like lambs to the slaughter, then off they go to their dinning rooms to gorge on wine and wholesome meat, the stench of rotting flesh as bad on their breaths as it is out there in no man's land. But it's OK for the war effort, while there might even be a promotion for some lucky soul in nice trousers...

A two-parter, the film was adapted from the novel written by Humphrey Cobb. The first half follows the craziness of the attack, the horrors of war brutally realised as Kubrick and cinematographer Georg Krause bring out the worry and simmering anger that jostle for the soldier's souls. The camera is cold and calculating, thus perfect for the material to hand, it leads the viewers - with skillful fluidity - through the bleakness of the trenches and the desolation of no man's land, the former a foreboding place, the latter an atrocity exhibition as bodies get flayed and shattered, while others retreat with limbs or sanity barely intact.

Second part shifts to a legally based procedural as the Generals conspire to make an example of those who retreated. Cowardice and a dereliction of duty apparently means the firing squad must save the integrity of the army. Patsies are lined up, but their Colonel (a superb Kirk Douglas) wants to defend them, there's much sweat, tears and anger, accusations hurled, and mistakes once again proving insurmountable. Which leads to the astonishing finale, heartbreaking whilst inducing fury, and crowned by an elegiac song that brings tears for characters and viewers alike.

A monochrome masterpiece full of technical skills, towering performances and writing to die for, Paths of Glory, candidate for one of the greatest anti-military films ever crafted. 10/10
Early Kubrick film displays his profound skills of storytelling in film in remarkable and poignant World War One film.
I have placed this early Kubrick anti-war statement on my top ten list both for its originality, great acting, compelling story line, plot twists, and surprisingly beautiful and inspired ending. This one is a heart-breaker account of a moment in history that repeated itself endlessly in that horrific bloodfest called the trenches of World War I. To some extent Kubrick returned to the theme in various ways with Full Metal Jacket, but Kirk Douglas as Colonel Dax is perfect here, demonstrating the challenge of maintaining honor within a system that has turned values on its head. It is a crisis in the life and career of Colonel Dax, who has lived by the watchword of Duty with a capital D throughout his career, but has remained idealistic and faithful to his men. The army's absurd effort to capture "the Anthill" results in a tear in the fabric of his idealism. The ugliness he sees is an eye opener for both Dax and the audience, who sees the truth with tragic clarity.

Colonel Dax, identifying with his men, is an inspiration in contrast to an empty culture of power and prestige with no ethical base.
About Acting ... Adolph Menjou
There's not much one can add here to what has been said regarding this excellent and classic War World I film based on actual facts.

Perhaps just point out that in a brilliant cast (Kirk Douglas renders one of his best performances ever and George McReady his best), the one who steals the show is Adolph Menjou in my opinion.

In his General Broulard character Menjou shows superb acting. He is a cynic and egocentric man who doesn't seem to care much about his men but a lot in his career and position, yet in his calm and at he same time strong manners he shows he will let some things pass but will not tolerate others. His meeting with Douglas while a party is going on downstairs is an acting class; he brilliantly avoids a serious conversation until he is told about MacReady's order to open fire against his own men. Menjou is perfect also when -while having lunch with Mac Ready- and with a sort of total lack of interest informs the man that there will be an inquire to judge for his behavior but you notice his eyes look clearly to see the other man's reaction and enjoy it. But mostly, in such a complex and unlikeable character (he goes along with the three soldiers shooting knowing perfectly it won't serve justice) his General Broulard transmits a sort of dignity and sympathy to the viewers.

And incredibly natural performer, Menjou died 5 years after this film at age 73. A great actor indeed.
another point of view
I've read some of the last comments and all I can say is that I think most of you missed the point in this film. No offense to everybody, but I've never regarded this movie as an antiwar movie or something like that. The fact, that my interpretation is not corresponding with most of the others lies in the simple truth that 50% of work is done by the "author" and the rest is done by the audience.

Kubrick used his films as little pieces of the great image of mankind. In all his movies one can see one or multiple depictions of individuals or groups and their feelings and actions, which are not only typical for the protagonists, and antagonists, but also for the viewer.

In the Paths Of Glory this special feeling is perhaps the most ordinary of all: hope.

From the beginning there is no hope in this movie. The battle is lost before it even started. Those three poor creatures are sentenced to death before even the trial had started. And still the audience hopes for a happy end, that the general may stop the execution in the last second. But nothing happens. At this point the viewer is as hopeless as the figures in the movie. The following breakfast scene leaves everybody in a state of paralization, nothing changes.

And then at the end. this helpless and beautiful girl begins to sing a German folk song, which none of the present soldiers knows what it's all about. But the mood of the mob changes away from hate and anger and they all begin to cry like babies. In this very moment hope is reborn and comes back to the battlefield of feelings as the glorious winner. This is when we regain our hope.

Many people wrote, that the last scene didn't fit in the film at all. I would say, that without this scene the movie would have never become the classic it is now. Of course the filming and actor performances are brilliant, but this specialty of the last scene makes this movie unforgettable.
Final Song
I enjoyed this movie immensely and agree with the previous posters who mentioned the stylistic similarities in "Paths of Glory" with later Kubrick works. I'm still uncertain of whether Kubrick intended the movie as an indictment of war in general or specifically to the French leadership in WWI. To the poster who asked about the source of the song the German girl was singing at the end, it is "Der Treue Husar" (The Faithful Husar). The lyrics and a midi of the melody can be found here: Oh and by the way, the singing girl is Christiane Harlan - later Kubrick's third wife. Veit Harlan who did several propaganda movies for the Nazis was her uncle.
simply put.
Everyone else will tell you about the story over and over again. So I won't need to do that. But, what description I'll give is one in its most simplistic form. One that summarizes the overall feeling, because to put into words such emotion for each scene is not possible. You will understand what I mean once you see this masterpiece of heartache. For it is just as impossible to put into words the emotions of any soldier during wartime. I should point out that I saw this movie on an old B/W set and give my review from this standpoint. To me it was seeing this movie minus the color that really maked it stand out. What makes it timeless. Anyway, to give you a feel for this movie here is one simple sentence. Black and white, and red throughout.
See Also
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