Cross of Iron

Cross Of Iron takes an atypical view, particularly for an American film of the time, where he it examines World War II through German soldiers. The film though naturally is an examination of cynical, yet caring, men who continue on through a war they don't believe in, knowing the they will lose sooner or later. This is against the one passionate Captain, well played by Maximilian Schell, who is hell bent on earning a Iron Cross from the higher command, a symbol recognition his fellow soldiers have earned yet have no interest in them. Although I should note this film is somewhat imperfect as the fact that it was not completely finished does seem evident in the rushed finale, however that does not defeat the remarkable efforts from the rest of the film. This is an excellent example of Sam Peckinpah's ways as a director who would never shy from the most brutal violence, in fact one could argue he glories in it with his use of slow motion to emphasize it, however there is this real warmth in his style all the same. There is always a sense that Peckinpah deeply cares for his characters which is pivotal here as it realizes the day to day life of these men attempting to get by in the war despite the odds being against them, as well as their own immediate superior. It's a fascinating film that works in actually often being made up of the little moments between the soldiers, so often of the little joy they still can find in their lives, which results in a powerful film about these men as much as a story about the rot of the Nazi army. It works as the latter as well, but it aims higher than this and succeeds in creating a brutal yet moving portrait of good soldiers on the wrong side.
4.5/5

Paths of Glory

Paths Of Glory is actually a bit of an outlier in Stanley Kubrick's filmography. Although the technical prowess of his direction found in his films is on display the film itself is by far his most humanistic film. Although Kubrick will allow a conduit for the audience to sympathize with or emphasize with to at least some extent he usually plays around with the supporting characters who are purposefully distant and strange. This is not the case in this film which seeks to find the humanity in every one. This includes even the worst characters, such as the cowardly Lieutenant Roget is granted a surprising degree of sympathy, and while this is not granted to glory seeking General Mireau his desperation for that glory is shown within a certain context. He's not made something grotesque, his actions are what grotesque, while we are allowed to see the man who beneath them. This approach realizes Kubrick's most emotionally resonate and powerful film. There is such care given to the soldiers that he allows one to witness the cruelty of the injustice within the system of war, where men are randomly selected for cowardice in order to act as a scape goat for the failures of battle. This isn't a film directly about the horrors of war, rather the horrors of the system that allows it and the insanity and insecurities that allow it thrive. Kubrick allows glints of optimism here, most notably through the powerhouse performance by Kirk Douglas, but just in the general tenderness towards his characters throughout. This is most notable, in Kubrick's greatest scene, which is saying something, where the group of soldiers find a respite in the song The Faithful Hussar, before going off to war once again. It is one of Kubrick's masterpieces, and the success of the film makes me ponder what he might have done with a few more film of this ilk.
5/5

Drive

The question about Drive is why is it a masterpiece? The story isn't anything new in fact you can find both Driver and Thief to see similar plots. Drive is a testament though that execution can matter sometimes more than originality of the plot, especially when the originality can be found in that execution. Drive has a well worn plot yet never feels tired. This is in part due to the downright brilliant direction by Nicolas Winding-Refn which realizes scenes that have certainly existed before in ways one has never seen before. This can be a more overt way such as in the opening where he places you within the getaway car in the opening heist/car chase. A potential gimmick beautifully realized to create a visceral unique sequence unlike any other in the genre. Now as much as the direction excels within these breathless actions sequences this extends to any given moment in the film far beyond where you'd even expect. There is a mastery within this style that Winding-Refn makes even just a scene of day in the wilderness is something so captivating. As with so many of the all time great films it effortlessly melds this style, with character, and its simple yet compelling plot. No facet is lost in this and this is one of the films I'd describe as realizing the magic of film in a way. Every aspect of film so effortlessly is melded together from the cinematography, to the writing, to the great acting, the sound, and of course the incredible music. Winding-Refn is the star of this film though in how well he utilizes all of this together to make a masterpiece that could have been a fairly rote action thriller in the wrong hands. Take the elevator scene which I'd put with among the greatest scenes of all time, where the full power the visual medium can be seen. Not a word is said yet in its gorgeous lighting, precise action of the scene, the specific acting particularly from Ryan Gosling that conveys such an incredible emotional weight that makes the moment one of the most romantic in cinematic history, and one of the most violent. That scene is one of the reasons I love the film, but also why I love film.
5/5