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what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

The movie really just wants to entertain people.

This movie sped by - was it rushed or was I enthralled? Whatever, it captures the politics of war beautifully and it's the fighting man who is expendable. SPOILER Why is Broulard prepared to mount a case with all the ensuing publicity against Mireau? Dax seemed surprised too. Broulard didn't do it out of any sense of guilt or fairness as he makes clear in his final speech to Dax ("the village idiot"). This movie can be compared to Ray's Bitter Victory which I preferred for its non-literal treatment.

War produces the true natures of men: some lose their humanity altogether and become monsters, while others embrace a kind of moral courage that cannot be defined or explained. So it's astonishing that a considerably intellectual filmmaker like Stanley Kubrick could distill this principle in such a visceral way.Make no mistake, Paths of Glory is a film of high concept and blinding idealism, but composed simply and without plot complication. It's World War I: Upon the orders of his superior officers, Colonel Dax (Kirk Douglas) leads his entrenched regiment of the French Army into a battle to take "The Anthill", an impenetrable German stronghold. It's a suicide mission, and everyone knows it. Of course Dax protests that the attack would only weaken the French Army, but General Mireau (George Macready) does not care. Indeed, Mireau has made the same conclusion, only the promise of a juicy promotion (by the equally unscrupulous General Broulard (Adolphe Menjou)) and his own Machiavellian ambition have already persuaded him to command others to certain and purposeless death.Unlike the amoral executives who command him, Dax does not lounge in extravagant mansions and eat gourmet meals with fine silver; he lives in the trenches with his men, a lawyer compelled by war to root in a festering wound of dirt and death dug by politicians who have never gazed upon a battlefield. As he dutifully proceeds to prepare the attack, fear abounds among the soldiers he leads, with deadly results.It is here that the film begins to challenge how we define courage. We see Dax advance while hundreds of others die horrifically around him. Some do not leave their trenches, so intense is the firefight on the battlefield. A safe distance away, Mireau orders his artillery to fire upon their own army to force them out of the trenches. Meanwhile, without support, Dax falls back into the trenches in a rain of dead bodies without making it to the Anthill, unable to convince anyone else to climb back out with him into oblivion. So galvanized is Mireau's rage at the prospect of losing his promotion that he demands one hundred men from the regiment be executed for cowardice. General Broulard convinces him to merely court martial three men chosen at random, and even allows Colonel Dax to defend them against the death penalty. The trial is a farce to say the least, and although the outcomes are sadly predictable, that doesn't mean the final journey we take with this movie is less than we can anticipate.Paths of Glory is a technically perfect film. As the camera seamlessly glides through the twists and turns of grimy trenches, horror and fear visually unfold like flowing tapestries along a magnificent human hallway. That nature and realism dominate the production design does not make the lens any less subjective or the images of war in all its boundless evil less beautiful. The booming cacophony of the battle scene has a aural texture that damns us to imagine the true nightmare actual combat must be. The acting is superb as well, every actor delivering his best work, Kirk Douglas in particular; despite his inclination for ham and bravado, Douglas' characterization of Dax is intense yet authentic and anything but a caricature. Colonel Dax's ability to maintain composure while evincing contempt and moral outrage is a script requirement, but the horror sculpted upon Douglas' face when confronted with the evil of men and the spiritual burden revealed in his posture and gait are the work of an artist. As I said, this would seem at the outset like a philosophical film crafted by a director who demands his audience intellectually grapple with the moral implications of what is provocative material to say the least. Perhaps it does accomplish that; certainly, if you watch this movie and fail to think about the message the film delivers, you are not only brain dead but morally bankrupt as well. But please watch the final scene, a brief coda after the main plot of the movie has concluded: An achingly beautiful German girl held as an enemy captive is made to sing before the rowdy French troops. As the war begets monsters, sometimes men of real courage are able to rediscover their own humanity. Any movie can make you think. But in that last moment, if you can see more than a singing peasant and weary soldiers, if you are able to hear more in the simple folk song than the lyrics, then you, like Dax, can discover that the only true path to glory is not in war or ambition, but in hope and innocence that sometimes may only be found in the most unlikely of places.

...as on the military hierarchy, at least in the French Army during World War One. A high-ranking French general is seeking further promotion, and he sees an opportunity to do so by having his regiment take a German position known as "The Anthill". Trouble is, he normally spends his time way behind the lines, and when he makes a front-line inspection of his troops, it is clear he lack a real understanding of what life is like for them.He orders the attack anyway, despite the warnings from the officers below him, and the enemy repulses the initial attackers so quickly, the remaining infantry mutiny and refuse to press the attack. The frustrated general finds three scapegoat soldiers to court-martial, and though they are represented by an officer who is a real lawyer, he is helpless to save them.We see the emotional damage the incompetent general has put others through-not for the glory of France, but for his own purposes. He might eventually be brought down, but his evil lives after him.

The film begins with a voice-over describing the trench warfare situation of World War I up to 1916. In a château, General Georges Broulard (Adolphe Menjou), a member of the French General Staff, asks his subordinate, the ambitious General Mireau (George Macready), to send his division on a suicide mission to take a well-defended German position called the "Anthill." Mireau initially refuses, citing the impossibility of success and the danger to his beloved soldiers, but when Broulard mentions a potential promotion, Mireau quickly convinces himself the attack will succeed.Mireau proceeds to walk through the trenches, asking several soldiers, "Ready to kill more Germans?" He throws a disturbed private (Fred Bell) out of the regiment for showing signs of shell shock, which Mireau considers simple cowardice. Mireau leaves the detailed planning of the attack to the 701's Régiment Colonel Dax (Kirk Douglas), despite Dax's protests that the only result of the attack will be to weaken the French Army with heavy losses for no benefit.During a nighttime scouting mission prior to the attack, a drunken lieutenant named Roget (Wayne Morris) sends one of his two men ahead as a scout. Overcome by fear while waiting for the scout's return, he lobs a grenade and retreats. The other soldier—Corporal Paris (Ralph Meeker)— finds the body of the scout, killed by the grenade. Having safely returned, he confronts Roget, but Roget denies any wrongdoing, and falsifies his report to Colonel Dax.The next morning, the attack on the Anthill proceeds.