Historical context

Stanley Kubrick began his career as a still photographer, first as a freelancer, then as a staff photographer for "Look" magazine. In the 1950s he transitioned from still photography into documentary filmmaking, and then into fictional filmmaking. Those who work in the motion picture industry generally fall into one of two categories: those who work within the studio system, accepting aesthetic compromises in exchange for financial security, and those who work outside the system, preferring to accept severe budgetary constraints in exchange for artistic control. Kubrick was one of the rare filmmakers who was able to thread the needle, retaining creative control while still receiving financial backing from major studios. He became known as an obsessive perfectionist, sometimes lavishing more time on a single project than most filmmakers would spend on three or four films. Paths of Glory was adapted from the novel of the same name by Humphrey Cobb, who based his novel on actual events. Cobb's title is taken from English poet Charles Gray's 1751 poem, "Elegy Written in a Country Churchyard." The context of the phrase is this quatrain: "The boast of heraldry, the pomp of power, / And all that beauty, all that wealth e'er gave / Awaits alike th' inevitable hour: / The paths of glory lead but to the grave." No studio wanted to finance an adaptation of Cobb's novel for the screen until Kirk Douglas, a bankable star, agreed to star in the film. The finished film appeared to touch a nerve in certain quarters -- for example, it was banned in France until 1975, eighteen years after its release. Paths of Glory is the film that established Kubrick as a significant talent in world cinema.

Narrative context

In what ways does the film delineate the characters of Dax, Mireau, and Broulard? The film clearly draws a line between Dax and the manipulative officers Mireau and Broulard, but in what ways does Mireau differ from Broulard?

What is the purpose of the subplot involving Roget and the soldier he inadvertently kills while out on patrol?

How is dramatic irony used in the film?

What is the significance of the final scene? It seems significantly different in tone from the rest of the film. Why do you think it was included?

Aesthetic context

Why do you think Kubrick chose to shoot the film in black and white rather than in color?

Why do you think Kubrick chose not to use music except at the beginning and end of the film?

In what scenes does Kubrick make extensive use of moving camera shots? Why do you think these choices were made? How does the moving camera in these scenes affect the viewer's perception of the scenes?

Rhetorical context

This film is usually identified as an anti-war film, but is it really anti-war, or just anti-military?