“One of the most powerful movies ever made… It could not be
more timely.” — A.O. Scott, The New York Times “Movie Minute” Click
here to watch it - select PATHS OF GLORY from list of films
“A STUNNER! Deservedly
launched Kubrick to the highest level of prestige.”
– Time Out New York
“Kubrick’s Paths of Glory shows how much—and how little— war
has changed in a century…
Playing in a glistening new black-and-white
print at Film Forum.”
– Ken Tucker, New York magazine. Click here to read entire review
(1957) “There
are few things more fundamentally stimulating than watching another
man die.” France, 1915. Amid the muddy trenches of World War I’s Western
Front, Kirk Douglas’s
French Colonel Dax gets the dreaded order: have his poilus take the seemingly
impregnable
“Anthill.” While behind the lines, icily smiling generals George
Macready and Adolphe Menjou,
ensconced in their chateau headquarters, play the General Staff office politics
twostep,
the one to get that promotion, the other to get some nice ink in the papers.
But, with the troops trapped in the trenches amid the ensuing bloodbath, Macready
vows that heads — but not his — will roll. And ultimately, three
men — Joe Turkel,
Ralph Meeker (Kiss Me Deadly’s Mike Hammer) and Timothy Carey (the wacko
assassin of The Killing and “a precursor of the hipster druggies of
the 60s” –
Pauline Kael) — become the scapegoats in a game of judicial murder. But
as
Menjou suavely explains, “One way to maintain discipline is to shoot
a man now
and then.” Shot in Germany after French authorities nixed the project
as
defamatory (the film was banned in France until 1975), Paths is one of the
most
ruthlessly anti-war films ever, with Kubrick’s telephoto-lensed, side-tracking
shooting of the assault perhaps the screen’s most authentic treatment of
trench warfare. A crew
of 60 worked around the clock for weeks to re-create the intricate trench systems
and ravaged
terrain of a WWI battleground (although the trenches were built two feet wider
than the
claustrophobic originals to accomodate the riveting backtracking shots of Douglas’s
pre-zero hour
procession); the set for HQ was a building actually damaged by WWII bombs; and
the special effects techies discharged over a ton of explosives in the first
week of
filming alone. With a screenplay by Kubrick, Calder Willingham and cult pulp
novelist Jim Thompson, Paths was named to the National Film Registry in 1992.
This new 35mm restoration from The UCLA Film & Television Archive, largely
derived from the original camera negative, returns the stunning hyperrealism
of
Georg Krause’s black-and-white cinematography to its original glory.
Preservation funded by The Film Foundation and The Hollywood Press Association. A SONY PICTURES REPERTORY RELEASE SUN 1:00, 4:20, 7:40 MON 1:00, 4:20
(1957) “There
are few things more fundamentally stimulating than watching another
man die.” France, 1915. Amid the muddy trenches of World War I’s Western
Front, Kirk Douglas’s
French Colonel Dax gets the dreaded order: have his poilus take the seemingly
impregnable
“Anthill.” While behind the lines, icily smiling generals George
Macready and Adolphe Menjou,
ensconced in their chateau headquarters, play the General Staff office politics
twostep,
the one to get that promotion, the other to get some nice ink in the papers.
But, with the troops trapped in the trenches amid the ensuing bloodbath, Macready
vows that heads — but not his — will roll. And ultimately, three
men — Joe Turkel,
Ralph Meeker (Kiss Me Deadly’s Mike Hammer) and Timothy Carey (the wacko
assassin of The Killing and “a precursor of the hipster druggies of
the 60s” –
Pauline Kael) — become the scapegoats in a game of judicial murder. But
as
Menjou suavely explains, “One way to maintain discipline is to shoot
a man now
and then.” Shot in Germany after French authorities nixed the project
as
defamatory (the film was banned in France until 1975), Paths is one of the
most
ruthlessly anti-war films ever, with Kubrick’s telephoto-lensed, side-tracking
shooting of the assault perhaps the screen’s most authentic treatment of
trench warfare. A crew
of 60 worked around the clock for weeks to re-create the intricate trench systems
and ravaged
terrain of a WWI battleground (although the trenches were built two feet wider
than the
claustrophobic originals to accomodate the riveting backtracking shots of Douglas’s
pre-zero hour
procession); the set for HQ was a building actually damaged by WWII bombs; and
the special effects techies discharged over a ton of explosives in the first
week of
filming alone. With a screenplay by Kubrick, Calder Willingham and cult pulp
novelist Jim Thompson, Paths was named to the National Film Registry in 1992.
This new 35mm restoration from The UCLA Film & Television Archive, largely
derived from the original camera negative, returns the stunning hyperrealism
of
Georg Krause’s black-and-white cinematography to its original glory.
Preservation funded by The Film Foundation and The Hollywood Press Association.