It went like this: “Wow, this movie’s pretty good.”
In particular, those brutal battle scenes. Great, great cinematography, especially those tracking shots showing the hordes of soldiers rushing to their death across enemy lines. They really captured the idiocy of this conflict, where men would kill to obtain just a few feet of barren real estate. And there was terrific editing, too, with quick cuts between shots of machine gunners cutting down waves of doomed soldiers.
This was startling, not stirring. It wasn’t supposed to be rah-rah-rah. This was as anti-war as you can get, with a focus on the impersonal modernity of conflict and its unsympathetic mechanization. These images will be hard to forget for me.
But there were other wonders, too. A scene where the infantrymen try to console a dying man whose legs have been amputated. Sequences with men shrieking madly within their bunkers. And a part where some of the soldiers ply three French women with food, suggesting the desperation felt at this time … not only for sustenance, but also for love.
A fine film. Some of the acting was a bit stilted, yet it was beautifully done overall. Not easy to get through, though. But like any great anti-war movie, it shouldn’t be.