By Andrew Kelly
Released to commemorate the centenary of the delivery of Erich Maria Remarque this is often an account of the making of his novel. while released in 1928, the e-book reworked the preferred picture of battle; the movie, directed through Lewis Milestone, used to be published the subsequent yr and was once immediately acclaimed a vintage. It continues to be the critical view of global struggle I and of the brutality and waste of conflict. just like the novel the movie used to be censored. Andrew Kelly covers the film’s origins and creation, and its fortunes on and after unencumber. it really is illustrated with scenes from the movie and comprises vast extracts from the screenplays.
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Extra resources for 'All Quiet On the Western Front': The Story of a Film (British Film Guides)
Anita Loos – an American screenwriter (she had written the intertitles for Intolerance) – said that ‘World War One was the reason for Hollywood’. She added: ‘At the time war broke out, movies had gained a very substantial place in Europe. They were being made in France, and in Italy they were particularly good, and there was no need for Hollywood. But the war broke out and that changed the whole scene. It was impossible to work with the economics of war surrounding these studios. ’8 In common with trends worldwide, there was little coverage of the war after ; audiences had become tired of the subject and there was no market for war films.
Whilst the original is clever, pointing out that death is normal and that one death is not worth a report, Wheen’s is memorable, almost poetic, and has entered the language. It may Erich Maria Remarque and All Quiet on the Western Front 45 not, however, be original: Brian Murdoch points out that Wheen possibly adapted it from a song from the American Civil War, ‘All Quiet along the Potomac’ by Ethel Lynn Beers, about the failure to report a soldier’s death. A number of cuts were made to the English translation by Putnam in Britain and Little, Brown in America, which removed some of the scatology, obscenity and licentiousness (particular targets included descriptions of bodily functions and a sex scene in the hospital).
More than that had suffered some sort of wound: Half of the ,, who survived the war had sustained injuries. 18 Gance had been influenced by his front-line experience as a cinematographer, the deaths of many of his friends in combat, and by Henri Barbusse’s anti-war novel Le Feu (Under Fire). He told Kevin Brownlow many years later that he was against war because it ‘is foolish’: ‘Ten or twenty years afterward, one reflects that millions have died and all for nothing. One has found friends among one’s old enemies, and enemies among one’s friends.