Patriotic young people are like potato peels at once All the quiet on the Western Front , Edward Berger’s new adaptation of the novel gives us 1930 Lewis Milestone’s film of the same name. For some, seeing this German translation of the German book is enough reason for a remake; for many others, especially those who rely on Netflix that ignores history (this Front will debut next month), the original may not exist.
Of course, the best-case scenario for a remake is that photography and effects have advanced since the milestone era, Berger’s Frontline does not require major Relying on the script and acting to make it Credits: A well-made picture with a high tolerance for muck, it’s a visceral experience, albeit a little less punishing than some other modern war films like Sam Mendes’s 1917. Like that movie, this one finds moments of haunting visual beauty, indulging in a nearly universal need to impose an aesthetic on senseless horror. Criticized in David Shields’ provocative art book War is Beautiful and elsewhere, it’s one of the trends that has led some to feel there’s no such thing as an anti-war movie.
No war on the western front
Bottom line Another neat reminder that war is hell.
Place: Toronto International Film Festival (Special Screening)
Release Date: October (Netflix )
actor : Felix Kammerer, Albrecht Schuch, Aaron Hilmer, Moritz Klaus, Edin Hasanovic, Thibault De Montalembert, Daniel Brühl, Devid Striesow
Director: Edward Berger
Screenwriter: Edward Berger, Leslie Patterson, Ian Stocker Rated R, 2 hours minute
The preface very succinctly summarizes the message of the story. In a battle his side was losing, a young soldier named Heinrich took courage, tossed his used rifle aside, and charged heroically with his shovel at the enemy. One scene later, the protagonists lie in a truck full of corpses, their uniforms being salvaged, cleaned and mended. Bullet holes were fixed, and Heinrich’s jacket was passed on to a recruit who didn’t know he had worn it. During World War I, he and a few friends forged a permission slip that he was supposed to have his parents sign. (Worth stopping and letting it sink in, right?) The boys were greeted warmly – commanders called them “the greatest generation” and urged them to be “emperors, God and Fatherland” command. Soon they were thrown into a wasteland, and for months rivals were killing each other to gain and lose yards of dirt.
Berger’s adaptation in Paul’s Three Companions, we’ll be sorry they’re gone. (Or, if one manages to abscond with three passing farm girls, good luck.) He also introduces a more experienced soldier (Kaczynski, directed by Albrecht Schucher). Play), he looks more likely to outlive them. But it soon becomes clear that the biggest reward of surviving in these trenches for a while is knowing that almost everyone has a violent ending.
A different ending is coming. We occasionally take a breather and turn our attention to the luxury trains and expropriated mansions that the French and German authorities have made decisions about. While German army commanders were ready to throw as many young corpses as possible into the fire, politicians understood they had lost and the faction led by Daniel Breuer’s Matthias Ozberg finally achieved a ceasefire . But General Friedrich (De Vestreso) decides to launch a doomed offensive in the final minutes of the war, ignoring the human cost.
Intimidatingly fuzzy synths and rifle-like snares add jarring punctuation to Volker Bateman’s score – a touch of cinematic modernity, with it The eras depicted are in sync. The combat tactics of that era were so far removed from ours, that no matter how beautifully the movie was made, people questioned the value of such a retelling of the First World War story. Is there anyone who can accept that the message from the front that the war is pointless needs more convincing? Or are films like this primarily for the crowd that made endless WWII documentaries pop on cable—perhaps, secretly believing that today’s youth could benefit from a little military discipline? After all, the country has its own selfish myth about the “greatest generation” that some people clearly miss. It is almost certain that, whatever their intentions, Berger and Erich Maria Remarque will not feel any different when they return to the Western Front.
Full credits
Venue: Toronto International Film Festival (Special Screening) Publisher: Netflix Production Company: Amusement Park Actors: Felix Kammerer, Albrecht Scheuer He, Aaron Hillmer, Moritz Krause, Edin Hasanovic, Thibaut de Montalembert, Daniel Brewer, David Striso
1917Director: Edward Berger Screenwriters: Edward Berger, Leslie Patterson, Ian Stocker Producers: Malte Grunert, Daniel Dreifuss, Edward Berger
Executive Producers: Thorsten Schumacher, Lesley Paterson, Ian Stokell Director of Photography: James Friend28 Production Designer: Christian M. Goldbeck Costume designer: Lisy Christl Editor: Sven Budelmann
Composer: Volker Bertelman
Casting Director: Simone Bär
German
Rated R, 2 hours minute
THR Newsletter
Sign up directly in your inbox THR News Daily
SUBSCRIBE
SIGN-UP
