All'ovest niente di nuovo

To say that this movie is one of the greatest war films of all time would be an understatement. Naturally, since the picture is based on Erich Maria Remarque's marvelous novel, the screenwriter was given quite a powerful story to begin with. The three main reasons why I consider this movie so forceful are the acting, the cinematography, and simply the sincerity.

Lew Ayres, the man who plays Paul Baumer, convincingly portrays the main character in many ways. First of all, the sheer innocence of his facial appearance adds a poignant touch to the film, because the overwhelming theme of the story is how the war effects all young people of each nation, whether that person dies in the trenches or survives only to lament his days in the war. Ironically, when the film was initially being put together, Remarque, the novelist who won critical acclaim for writing the book, was asked to play the role of Paul. Having seen time in the war the producers must have thought him aptly prepared to play the role. But he declined because he had other commitments and because he felt he was not such a great actor. Lucky for us, because Ayres gives a powerful performance. Other characters with relatively minor roles have major importance in the film because they portray touching, heart wrenching scene s of death. These peripheral characters all help add to the general tone of the film (and the book) because they show how dark and terrible the war can be; and they in turn show how propaganda can be so harmful, because most of the soldiers in Paul's regiment are volunteers who receive a very rude awakening when they discover what the war is really all about. The acting is simply superb, and perhaps this is due to the fact that the famous director George Cukor was an assistant who, although uncredited, came onto the set to help supervise the actors (possibly because director Lewis Milestone's English was not too good).

The cinematography of this film is absolutely magnificent. The film rarely has gory sequences because the director finds other ways to imply death and still have the same emotional effect. One way in which he does this is by showing single body parts (such as a hand or a leg) and allowing these appendages to show the death of the soldier as a whole. Also, the cameraman uses overhead angles at times with great skill and also focuses on the trenches at times as the soldiers fall back into them after being shot (which implies that the trenches are a symbol of hell, because soldiers fall into them to die). In short, the cinematographer Arthur Edeson allows the camera to do the talking and to drive the film, rather than the dialogue (speaking of which, there is relatively little; the actors' facial expressions do the bulk of the talking in the film).

When I say this film is sincere I really can't give you any tangible evidence to prove the point; all I can tell you is to see the film. The film at times overwhelmed me with emotion to the extent that I got goose bumps from watching some of the more agonizing scenes. In a way, this movie is much like a silent film. This stands to reason because it came at the very beginning of the 'talkie' age, only three years after The Jazz Singer (1927). Also, Milestone directed silent films before this one, and he seemed to know that less focus on dialogue and more focus on acting would bring about an overwhelmingly emotional and well, sincere, film. The film obviously had an effect on its star, Mr. Ayres, because once World War II began and he was drafted into the war, he conscientiously protested serving in the army because of his opinions towards war. I believe he admits that his opinions stem from his work in this movie. Certainly this is a powerful admission, because his protest caused him and his films to be blacklisted in Hollywood, and his career suffered greatly because of his ideals. So if you don't believe my words about the power of this film, believe his.

I was in high school when I first saw this great war film and I am now a senior, senior, citizen and have seen it a few more times. ALL QUIET remains right at the top of my list of outstanding war pictures. Here was a unique depiction of life in the trenches from an enemy point of view, a novel approach.

Lew Ayres gives a memorable performance as Paul Baumer, the sensitive German soldier, and has a fine supporting cast. The vivid battles in the trenches remain in my thought, and though they lack the technological know how of today, are indelible.

One of the most touching scenes is when Baumer kills the Frenchman in the shell hole and remorse overcomes him. Another tragic part is when his buddy is dying in the hospital and is visited by his comrades. A lighter scene is when the company has an over abundance of food due to its losses and the men become satiated. They are so comfortable that they are inclined to philosophize about the causes of war and its solution.

When Paul loses his friend, his depression grows and his death at the hands of a sniper is a fitting end to it all. The remake, with Ernest Borgnine, was satisfactory, but could not approach the quality of the original which I often find to be true.

World War 1 and a young German, Paul Baumer, enthusiastically joins the Army. With romantic notions of war and idealistic dreams in his head he undergoes training and then is sent off to the Western Front. In due course the romantic notions are replaced by the harsh reality of war and he becomes disillusioned with it all.

Great World War 1 movie, made when the war was still fresh in everyone's minds.

Might well be the first anti-war war movie, as it depicts the grim realities of war, rather than the romantic, heroic non-existent version of it.

Harrowing, shocking, original, unpredictable, and just as relevant today as in 1930.

Surprisingly good production values for 1930.

Solid performances all round.

Far far better than the 1979 remake.

Still one of the most worthwhile films about the hard realities of war, "All Quiet On The Western Front" has numerous memorable images and thoughtful moments. Too many war dramas, regardless of their perspective, resort to distortions of history and overblown characters that make them convincing only to those who watch uncritically. This one works nicely by keeping the characters low-key and by, for the most part, allowing the events and situations to speak for themselves. It's not perfect in this respect, and it is perhaps a movie more to be respected than enjoyed, but it has many notable strengths.

The characters, most of them young soldiers, are played very simply, even plainly, but this is by no means a weakness - rather, it allows the movie to show what war is like for real soldiers rather than for idealized or stereotyped characters. The two most important characters are developed more fully, and are played well. Louis Wolheim's resourceful 'Kat' is the liveliest of the soldiers, and as Paul, Lew Ayres is quite understated but very believable. His character is well-chosen as the focal point of most of the movie.

The close-fighting nature of World War I particularly lends itself to this kind of movie, and the atmosphere is convincing and detailed. The contrast with the civilian scenes is also set up well, although the civilian scenes sometimes seem slightly less convincing. The overall effect is a movie that, while you probably wouldn't call it exciting or fun, is one you won't forget.

"All Quiet on the Western Front" is important filmmaking that still rings true today. The film deals with World War I combat through the eyes of the enemy (the Germans). For the first time ever it was realized how heartbreaking war really is, for all involved. One key message within the film is that innocence cannot survive on the battlefield. War is an awful thing that has no true winners, just losers. Brilliant performances from all involved make the film believable and accurate for the most part. A very young Lew Ayres is the best as his story creates tension for the entire film. This is perhaps the first film that proved that the cinema could be a truly imperative medium. The film was scorned by many in the U.S. as some thought that showing the Germans as sympathetic characters was in poor taste. Germans hated the film because of its anti-war message. Hitler was about to become a world power and he wanted all Germans to be excited and enthusiastic about combat. This film goes against those ideals. The Academy was brave enough and smart enough to award the film with the Best Picture Oscar in 1930 and Lewis Milestone became the first multiple Oscar winner in the directing category. "All Quiet on the Western Front" has the storyline of Malick's "The Thin Red Line" and the action and drama of Spielberg's "Saving Private Ryan". An overwhelming film experience. 5 stars out of 5.