‘All quiet on the front’: Tin Soldier

The Spanish singer-songwriter Cecilia, in one of her emblematic songs, ‘Soldadito de lead’, wrote: “A tin soldier / He’s not the last straw / You must fight / For a wooden general / Battle formation / And at the end of your war / A medal, a flag / A hole in the ground”. A song that showed the paradox of a toy recruit whose quality, superior to that of wood, must first be sacrificed for a superior made of inferior material. Anti-war metaphor, no doubt, you can do a clear parallelism with ‘All quiet on the front’, the ambitious feature film by the German Edward Bergerchosen by Germany to represent the country in the best international film category at the Oscars and considered one of the favorites of this season of awards.

‘All quiet on the front’ adapts the novel of the same name by Erich Maria Remarque. This is the third audiovisual version of the book, considered an important antiwar statement by an author who had to fight in the First World War. Published in 1929, the brief described in great detail the extreme physical and mental trauma of German soldiers during the war, as well as the detachment from civilian life they felt upon returning home from the front. The novel was banned during Nazi Germany and was one of many titles that the National Socialist regime burned on public roads.

thoughtful A jewel of contemporary German literature, Remarque’s work has been adapted for the screen three times. The best known and most acclaimed is 1930, made a year after the book was published. Directed by Lewis Milestone and starring Louis Wolheim, it is considered one of the most epic films in the history of American cinema, as well as having been shot long before the imposition of the Hays Code. Such is his prestige, that in 1991 it was registered in the National Register of the United States Library of Congress for its preservation for posterity through being “culturally, historically or aesthetically significant”.

While it is true that the Milestone film is unique, it is also true it was missing that adaptation of German cinema itself, which took so many years to arrive. Hence, this version made for the big screen attracts so much attention. Unlike the American, British or French view, German industry is very attentive to what it portrays about World War I and World War II, given the risk of glorifying despicable acts committed in the name of a dangerous ideal of a homeland. And this is where you can see the hand of both its director, Edward Berger, and the writers, Berger himself along with Lesley Paterson and Ian Stokell.

Epic war cinema that shows the more unpleasant side of war. A film with a powerful anti-war message

“All Quiet on the Front” crudely portrays the fall of ideals and the hard gaze that was hidden from those young people who fed on a patriotism typical of a Disney film. Already the first scene is tremendously revealing, showing how the uniforms of soldiers who fell in battle were reused for new recruits, thus forming an eerie spiral of blood and death. Seldom has the German side been shown so frankly in a Trench War story. and this is where Berger creates a powerful film with the spirit of an epic and raw story.

The heroism of war films is relieved by scenes of devastation and guilt, especially since, in the end, defending the homeland against life leaves a bitter feeling of complete emptiness. Added to this is an accurate portrait of the physical and psychological damage of the surviving soldiers. However, the main thing that is told is the descent into hell of the young soldier Paul Bäumer, who still underage enlisted in the ranks, fueled by the patriotic messages of his teacher in high school. Berger alternates scenes at the front with others related to the high command of the army and the elite of the governmenthow some are aware that the war must end, while others live a reality foreign to the pain and suffering of these children and how an entire generation of young people is devastated.

Here you can see both the good technical invoice, featuring superb photography by James Friend; sumptuous sets and sets by Christian M. Goldbeck and Ernestine Hipper; a wardrobe with attention to the smallest details, created by Lisy Christl; as well as a good time management that can be seen in a solid editing, by Sven Budelmann. With sublime technical part, the message would not have come about without a dedicated cast and this is where the magnificent Felix Kammerer stands out, like an incredulous young man who ends up embracing cynicism and entering a vicious cycle of self-destruction when the war comes to an end. Albrecht Schuch also stands out, more seasoned in front of the screen, transformed into a sort of generational mirror of the protagonist. Applause also for Daniel Brühl, Devid Striesow and Thibault de Montalembertlike those faces of diplomacy whose lives contrast with that of their soldiers.

“All Quiet on the Front” already aspires to be one of the best war movie titles, especially for its concrete and accurate antiwar message. Raw film, in which the epic is reduced to some battles in which, in reality, there is no winner, only death. Berger, who had previously shown a good streak for social cinema with the heartbreaking “Jack”, also shows he has historical film material, with which he is the most ambitious project of his filmography and also the most rounded.

Note: 8

The best: His anti-war character is turning this descent into hell into a difficult but fascinating experience to watch.

Worse: Its last part is somewhat irregular, which makes the final result truly remarkable, but far from the masterpiece it was until its epilogue.