Casualties of War

Rating: 10/10 (6 June 2011)

ALL QUIET ON THE WESTERN FRONT (Universal, 1930), directed by Lewis Milestone, often classified as an anti-war film, is best summed up by this opening inter-title: "This story is neither an accusation nor a confession, and least of all an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who even though they may have escaped its shells, were destroyed by the war ..." Taken out of context from Erich Maria Remarque's powerful 1928 novel resulting into a prestigious screen adaptation to win an Academy Award as the year's Best Picture. While few films from 1930 stand the test of time, this one definitely does.
For those unfamiliar with ALL QUIET ON THE WESTERN FRONT, it's not a western but a drama set during the Great War (World War I) from the German's point of view. The story opens in a German village with a big parade of soldiers marching down the street; Himmelstoss (John Wray), a kindly postman delivering his last letters before going off to war; and students inside a classroom listening attentively to Kemmerick (Arnold Lucy), their schoolmaster, dictating to them to become "iron men of Germany" by going to war to "save the fatherland." The youths, headed by Paul Baumer (Lew Ayres) make arrangements to enlist. Once in training camp, they encounter their friend Himmelstoss now the most brutal sergeant making high demands on their services. After going through the basics, Paul and company soon meet Katchinsky (Louis Wolheim), an tough old Army veteran whom the boys look up to as their father figure. After Katchinsky teaches them the basics of day by day survival of dropping to the ground during bombardment, the real test comes for Paul and friends, consisting of Franz Kemmerick (Ben Alexander), Albert Kropp (William Bakewell), Muller (Russell Gleason), to witness full hand the harsh realities of war during their endless days on the battlefield and the trenches. Upon military leave, Paul's venture home finds him witnessing dramatic changes. Before returning to camp, he visits the classroom where and some of his now deceased friends once sat to tell Kemmerick's pupils the real meaning of combat: "We fight, we try not to be killed, sometimes we are." With these words, to his dismay, Paul's labeled a "coward."
For anyone unfamiliar with the principal cast, it's understandable since it lacks top- names in its assortment of performers. Feature billing goes to Louis Wolheim, a character actor dating back to the silent screen era. A familiar face in 1930, Wolheim's career was cut short in 1931 when he succumbed to cancer. His role, basically a supporting one, is good enough for an Academy Award nomination. The real lead goes to the second billed baby face Lew (billed Lewis) Ayres, in his first major role. Best known as the title character in MGM's "Doctor Kildare" movie series (1938-1942), his career lasted for several decades. Slim Summerville, who originated in silent comedies, provides some general humor as Tjaden, reciting this classic line, "Me and the Kaiser, we are both fighting with only one difference, the Kaiser isn't here."
For anyone unfamiliar with Lewis Milestone, he won an Academy Award as Best Director for the most vivid war drama since King Vidor's THE BIG PARADE (MGM, 1925) starring John Gilbert. Of his many motion pictures from the director's chair, many claim this to be his masterpiece. For an American made production, it's very much European influenced through its visual style and camera techniques of tracking over dugouts and war zones covering every angle and movement, a style reminiscent to stylish American silents of the 1920s. Once seen, it's hard to forget such intense scenes as a soldier's screams ("My eyes! I'm blind!"); disembodied hanging hands on barbed wire; Paul's apologetic manner towards the deceased Gerald Duval (Raymond Griffith - in a mute performance), a French soldier he killed in the dugout; a long shot view of a one-legged soldier on crutches, along with lighter moments as four soldiers (Paul included) skinny dipping while bathing in the river to be spotted by three observant French girls. The scene that gets me every time is one where Paul reaches out for the butterfly. Only drawback is Paul unconvincingly telling himself after his mother (Beryl Mercer) leaves his room, "Why can't I put my head on your lap and cry?"
When sold to commercial television in the late 1950s , all prints to ALL QUIET ON THE WESTERN FRONT were taken from the 1939 reissue, giving Ayres star billing over Wolheim's, the Academy Award statue inserted in the opening credits, and underscoring in place over film's original scoreless finish of youthful soldiers looking back as they go marching, quietly, all quiet on the western front. Initially released close to 140 minutes, reissue prints were cut to 104. Later restored by the Library of Congress, the close to accurate version was then distributed to home video in 1987 and DVD years later. Cable television presentations consisted of American Movie Classics (1992-2004) and Turner Classic Movies (TCM premiere April 2, 2002). Remade in 1979 as a made-for-television movie starring Richard Thomas, it's the original that continues to have a solid impact, even today. The long overdue/ forgotten sequel, THE ROAD BACK (Universal, 1937), directed by James Whale, with Slim Summerville reprising his role of Tjaden, is one worthy of rediscovery some day.
So popular was Remarque's novel that it was reportedly translated into 25 different languages. The book was also required reading in high school. As for this edition, an artistic achievement by Universal standards, it should be worthy study for film school scholars. (**** helmets)