Must-see account of the agony and destruction of man against man.

Rating: Null/10 (20 October 2006)

Every bit as meaningful as it was when it was first released over 75 years ago, this examination of the horrors of war is an eye-opening piece of movie-making for those who are used to the routine, almost-sterile, gung-ho war films that came after it (until a relaxation in censorship began leading to more realistic treatments of military carnage on screen.) Set in WWI Germany, it follows the enlistment, training and wartime experience (and in most cases, eventual death) of a group of young men, egged on to volunteer by their rather fanatical teacher. The bulk of the attention is given to Ayres, in a star-making role, who plays the most thoughtful, even-keeled member of the group. After envisioning all sorts of idealized perks and prestiges associated with becoming soldiers and war heroes, the cold reality sets in soon after the boys enlist. Their former postman is now a stern drill instructor, their personal comfort, including clothing, bedding and meals, matters not one bit to the German army and they are worked over continually in order to turn them into emotionless fighting machines. Once into battle, the men are practically overcome by the inherent hardships and torments of their daily lives. A hardened sergeant (Wolheim) takes some of them under his wing along with his sidekicks, burly Alexander and amusingly discontented Summerville. However, death and injury come swiftly and without warning to many of the recruits. The film is astonishing if for no other reason that it accomplishes so much visually and thematically despite being made in 1930, when sound film was in its infancy and camera movement was stifled by the process of recorded sound having to be put in synch with the pictures. No music score is heard after the opening credits, adding an eerie realism to the proceedings and allowing the endless shells and firepower to provide background noise. (Speaking of backgrounds, there is nearly always something occurring in the backgrounds of the film; passing trucks, marching soldiers, etc... giving the film an urgency that others sometimes lack.) There are many memorable sequences including a claustrophobic stint in a crumbling bunker, a face-to-face killing along with the emotional fall-out from it, a playful diversion of skinny-dipping and romance with a trio of French girls, a pair of decidedly unlucky leather boots and, of course, the unforgettable final minutes. The battle sequences here are startlingly realistic with all the dirt, grime, explosions, gunfire, hand-to-hand combat and graphic injury right there on the screen. The frank approach to sexuality and the carefree handling of semi-nudity will surely be a surprise to viewers used to films from 1934 to the 1950's. It makes one wonder how cinema would have progressed without the shackles of stringent censorship just after the beginning of the sound era. Though he isn't first billed, Ayres is really the leading man of the picture and is an appealing presence. He (and many others in the cast) can't quite shake some of the mannerisms and acting styles that were used in the silent films, but this isn't hard to overlook after a while. Top-billed Wolheim does an excellent job. His performance is as accessible now as it was then. Sadly, he died of cancer not too long after this film was released. Gleason, a beautifully handsome young actor who plays one of Ayres' cohorts had an unfortunate accident in 1945, ending his life. Mercer, who plays Ayres worried mother, was also felled within a few years of the film. Summerville, a lanky actor known more for his comic roles, appeared in the much lesser known sequel "The Road Back" in 1937. Once seen, the film's message that war is hell isn't easily shaken. The film benefits from a repeat viewing in order to fully digest the sizable cast of young men and watch their stories unfold.