‘1917’ (2019)
Nominated for 10 Academy Awards (and the winner of three), “1917” director and co-writer Sam Mendes (“American Beauty”) and cinematographer Roger Deakins chose to present their film with what appears to be a single, uninterrupted shot. This same thing was first done in Alfred Hitchcock’s “Rope” (1948) and about three dozen times since, mostly as a “look-at-me” gimmick. This is not the case here.Employing the device to convey immediacy, the unseen, the unexpected, and the shrieking terror of war on the ground, “1917” for the most part is a two-man show. Hand-plucked by their commanding officer (Colin Firth), lance corporals Blake (Dean-Charles Chapman) and Schofield (George MacKay) are charged with the unenviable task of crossing enemy lines and traveling untold miles across the French countryside to deliver a message to another officer (Benedict Cumberbatch) ordering him not to attack presumably retreating German forces.
‘Paths of Glory’ (1957)
The breakout film from director Stanley Kubrick, “Paths of Glory” was one of the first war films to be openly anti-war, anti-bureaucracy, and pro-soldier. Based on the novel of the same name by Humphrey Cobb, co-writer and co-producer Kubrick’s narrative is a stark contrast showcasing the safe existence of the untouchable officers living in opulence while their soldiers lived in muck and were fed on rations and scraps.After refusing to carry out an order that was effectively a suicide mission, some soldiers under the command of French officer Dax (Kirk Douglas, also co-producer) faced court-martial charges of cowardice with a penalty of death. Enraged, Dax defends his men’s decision and finds out the hard way that there are far uglier fates in war than what takes place on battlefields or in the trenches.
‘All Quiet on the Western Front’ (2022)
Even as I type these words, I am fully aware that I am recommending a remake over a beloved original and welcome the opinions of those in disagreement. However, before you lash out in the comment section, consider a few things. From a storytelling perspective, the 2022 version is every bit as gripping as the 1930 original, yet it has the undeniable technological edge. The new version simply looks and sounds better. I’m reasonably sure that the audiovisual components of the 1930 version were “state of the art” at the time.As with “Paths of Glory,” the first “All Quiet on the Western Front” also had German and French characters speaking English. These were wise commercial choices but thoroughly unrealistic when it comes to the suspension of disbelief. The new film is presented in French, German, and English (with optional dubs and subtitles). The original still remains in my Top 100 of all time. The new one barely missed landing on my 2022 Top 10. Before passing judgment, do yourself a favor: Watch the new one now on Netflix.
‘A Farewell to Arms’ (1932)
Adapted from the 1929 semi-autobiographical novel of the same name by Ernest Hemingway (and not to be confused with the 1957 remake), the original film, directed by Frank Borzage, stars Gary Cooper as an American ambulance driver who falls in love with an English nurse (Helen Hayes), both serving in Italy.Nominated for four Oscars (and winning two), the film gained notoriety for its multiple versions upon release. One with a happier ending (running 78 minutes) changed the outcome of one of the leads, and the other (89 minutes) not so much. Exhibitors were offered both cuts, which made for what had to be an impossible choice for promoters and audiences. The longer version was released on home video in 1999 and is worth seeking out.
‘Gallipoli’ (1981)
Arguably the least-known title on this list, “Gallipoli” is notable as it focuses on the friendship of two Australian men amidst the backdrop of the relatively little-known Gallipoli Campaign, which took place in what is now Turkey for 12 months in 1915 and 1916.Directed by Peter Weir (“Witness,” “The Truman Show”), it stars Mel Gibson as one of the two lead character soldiers. Gibson, although born in the United States where he lived until the age of 12, had resided in Australia since then and proceeded to impress the world filmmaking community with his “authentic” Australian accent.
As always, there are other more-than-worthy titles that did not make the final cut, not because of quality but more because of what I determined to be plot and narrative redundancy.
