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Paths of Glory

Paths of Glory

War · Drama · 1957

A commanding officer defends three scapegoats on trial for a failed offensive that occurred within the French Army in 1916.

Movie details

Paths of Glory

“It explodes in the no-man's land no picture ever dared cross before!”

1957 War · Drama 1h 28m

Critical arithmetic

One number, for now.

TMDB

8.3 / 10

Community rating

A commanding officer defends three scapegoats on trial for a failed offensive that occurred within the French Army in 1916.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Paths of Glory?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The One That Got Away

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Devotion

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The Zone of Interest

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All Quiet on the Western Front

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War · 1979

At the start of World War I, Paul Baumer is a young German patriot, eager to fight. Indoctrinated with propaganda at school, he and his friends eagerly sign up for the army soon after graduation. But when the horrors of war soon become too much to bear, and as his friends die or become gravely wounded, Paul questions the sanity of fighting over a few hundreds yards of war-torn countryside.

Bonhoeffer: Pastor. Spy. Assassin

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The Lost Battalion

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Names above the title

The people responsible.

Directed by

Stanley Kubrick

Written by

Stanley Kubrick · Calder Willingham · Jim Thompson

Kirk Douglas

Kirk Douglas

Col. Dax

Ralph Meeker

Ralph Meeker

Cpl. Philippe Paris

Adolphe Menjou

Adolphe Menjou

Gen. George Broulard

George Macready

George Macready

Gen. Paul Mireau

Wayne Morris

Wayne Morris

Lt. Roget/Singing man

Richard Anderson

Richard Anderson

Maj. Saint-Auban

Joe Turkel

Joe Turkel

Pvt. Pierre Arnaud

Court is in session

Put Paths of Glory on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.