《国际电影影片词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume 1 FILMS（Q、R、S、T）

FILMS. 4th EDItION PASSPORT TO PIMLICO 影7ELC BU Passport to Pimlico Duke of Burgundy): Margaret Rutherford ( Professor Hatton-Jones): Curran, James, and Vincent Porter, editors, British Cinema History Raymond Huntley (Wix); Hermoine Baddeley(Eddie Randall): Basil London. Weidenfield Nicholson. 1983 Radford ( Gregg Brown, Geoff, and Laurence Kardish, Michael Balcon: The Pursuit of British Cinema, New York, The Museum of Modern Art, 1984: dated edition, 1990 Publications Murphy, Robert, Realism and Tinsel, London, Routledge, 1992 Articles. Books Ellis, John, ""Made in Ealing, from Screen(London), Vol 16. No. 1 Balcon, Michael, Michael Balcon Presents.. A Lifetime of Films, Spring 1975 Brown, Geoff, "Ealing, Your Ealing from Sight and Sound (Lon- Durgnat, Raymond, A Mirror For England, London, Faber don). Summer 1977. Faber 1970 williams, Tony, The Repressed Fantastic in Passport to Pimlico, Clarke. T. E. B. This Is Where Came In. London. Michael in Film Criticism (Meadville), vol. 16. no. 1-2, Fall-winter Joseph, 1974 Armes, Roy, A Critical History of British Cinema, London, Secker Warburg, 19 Barr, Charles, Ealing Studios, New York, Woodstock Press, 1980, 1999. Perry, George, Forever Ealing, London, Pavillion/Michael Passport to Pimlico has the distinction of making pouring rain and he onset of cold weather the satisfying and suitably up-beat coda to

FILMS, 4 PASSPORT TO PIMLICO th EDITION 925 Passport to Pimlico (Duke of Burgundy); Margaret Rutherford (Professor Hatton-Jones); Raymond Huntley (Wix); Hermoine Baddeley (Eddie Randall); Basil Radford (Gregg). Publications Books: Balcon, Michael, Michael Balcon Presents . . . A Lifetime of Films, London, Hutchinson, 1969. Durgnat, Raymond, A Mirror For England, London, Faber & Faber, 1970. Clarke, T. E. B., This Is Where I Came In, London, Michael Joseph, 1974. Armes, Roy, A Critical History of British Cinema, London, Secker & Warburg, 1978. Barr, Charles, Ealing Studios, New York, Woodstock Press, 1980, 1999. Perry, George, Forever Ealing, London, Pavillion/Michael Joseph, 1981. Curran, James, and Vincent Porter, editors, British Cinema History, London, Weidenfield & Nicholson, 1983. Brown, Geoff, and Laurence Kardish, Michael Balcon: The Pursuit of British Cinema, New York, The Museum of Modern Art, 1984; updated edition, 1990. Murphy, Robert, Realism and Tinsel, London, Routledge, 1992. Articles: Ellis, John, ‘‘Made in Ealing,’’ from Screen (London), Vol 16, No. 1, Spring 1975. Brown, Geoff, ‘‘Ealing, Your Ealing,’’ from Sight and Sound (Lon￾don), Summer 1977. Williams, Tony, ‘‘The Repressed Fantastic in Passport to Pimlico,’’ in Film Criticism (Meadville), vol. 16, no. 1–2, Fall-Winter 1991–1992. *** Passport to Pimlico has the distinction of making pouring rain and the onset of cold weather the satisfying and suitably up-beat coda to

PASSPORT TO PIMLICO FILMS, 4 EDITION hots of the Medit Once it is established that ecomes clear during war effort, and not the haul, by refutin ebra- nt to be, and though it 926

PASSPORT TO PIMLICO FILMS, 4th EDITION 926 its story. Somehow the teasingly self-conscious shots of the Mediter￾ranean or Latin American signifiers which open the film are indeed proven to be a dupe and a distraction from the reality that is Britain in the late forties. What we see in Passport to Pimlico, however, is a singularly Ealingesque version of reality, informed by Producer Michael Balcon’s pursuit of ‘‘Britishness’’ within the unique self￾defining parameters of the ‘‘British Film.’’ The film becomes a vehi￾cle by which the British may actually experience their fantasies and dreams only to find that they do not sit easily with the much more acceptable and comfortable aspects of merely trusting and enjoying the circumstances they have inherited. Far from being a reactionary and conservative position, this is viewed within the film as progres￾sive because it sustains particular kinds of values and behaviour which would be lost to misdirected aspirations unsuitable to a British temperament, defined it seems, by wartime consensus and a nostalgia for imagined communities and significant nationhood. Passport to Pimlico was inspired by a news story in which it was reported that Princess Juliana had given birth to an heir to the throne during her wartime exile to Canada. It was first necessary, however, that the government make the maternity wing in which she was staying legally Dutch soil as the heir had to be born within the realm of the Netherlands. This unusual tale was adapted by screenwriter, T. E. B. Clarke into a story in which the inhabitants of Miramont Place in Pimlico suddenly discover that they are legally Burgundians when a wartime bomb accidentally explodes revealing the treasures of Burgundy and the lease that claims this piece of British soil as Burgundian. This narrative conceit produces circumstances which suggest particular scenarios about how people, and specifically, British people might behave liberated from the still operational post￾war restrictions. Further, it serves as a test of the assumed power structures, value systems, and social hierarchies that constitute the cultural status quo, and thus, in turn operate as a metaphor for the flux of interests at large in the period of post-war reconstruction. This kind of narrative also becomes a model of the ‘‘What if?’’ scenario, so beloved of Balcon, when the Chaplinesque ‘‘little man’’ finds his voice and challenges the status quo at the moment of temporary social disruption. Further examples follow in Whisky Galore and The Man in the White Suit. Such films become invaluable for what they reveal and define about ‘‘Britishness.’’ Arthur Pemberton cherishes a plan to create a children’s play area from the wartime ruins but is dismissed with the rebuff that ‘‘This borough is in no position to finance daydreams.’’ This moment alone distills some of the film’s central premises about the tensions between pragmatism and imagination, forward-thinking and backward-look￾ing, inhibition and liberation, and the role of the individual within the community. It is also a typically ‘‘Ealing’’ scenario, in that important issues in Ealing movies were often explored through narratives involving children. These films include Hue and Cry and Mandy. Pemberton equates the children’s play area with the future and the transition from post-war inertia into a new decade energised by the young. He sees this initiative as an opportunity to liberate a future generation into the freedoms fought for by his generation. Passport to Pimlico essentially examines the problems of this transition by demonstrating the possibilities inherent in having particular freedoms. Ironically, the bomb which reveals the Burgundian treasure is accidentally set off by a group of children. The treasure is only found when Pemberton himself inadvertently falls into the bomb-sight. When Pemberton and his daughter, Shirley, research the origin of the treasure, Shirley astutely anticipates the real implications of finding the haul, by refuting her father’s pride in discovering its heritage, by saying: ‘‘History, my foot. It’s money!’’ Once it is established that ‘‘these Londoners are technically Burgundians,’’ it becomes clear that the people of Pimlico enter a temporary Utopia which operates outside British law, and legitimises the fulfillment of individual appetites and desires. It also becomes clear that freedom from restriction reveals the deep structures of human imperatives—chiefly, the will to power and the instinct to indulge. The Burgundians celebrate by drinking, singing, and dancing, culminating their eve￾ning of liberation with the destruction of their ration books, the everyday symbol of regulation and caution. Arguably, it is also at this point when democracy and nationalism are also in flux. The film uses the very appealing device of illustrating freedom without responsibility to demonstrate the necessity of certain social structures and institutions. These organisations preserve freedoms for everyone in the face of the inevitability of those people merely seeking to take advantage of situations for their own gain. By illustrating a possible utopia in excess, that essentially fails with the onslaught of black marketeers, criminal types, and self-interested government bureaucrats, Passport to Pimlico demonstrates and en￾dorses the utopia of a civilised community with consensus politics sustaining the ideological status quo. When the Prince of Burgundy arrives, authenticated as the true Burgundian heir by the eccentric Professor Hatton-Jones (a typically joyous and bluster-filled performance by Margaret Rutherford), he also brings a genuine ‘‘Europeaness’’ which authenticates the freer, more sensual aspect of the new Pimlico lifestyle. His romantic endeavours with Shirley Pemberton are constantly thwarted, how￾ever, as his role becomes further politicised, when Burgundy is forced to create its own democratic nation-state to resist the intervention of Britain. This process merely illustrates that Burgundy is a democracy modelled on Britain itself, and a microcosm of British life which best demonstrates the chief characteristics of ‘‘Britishness.’’ These largely concur with those characteristics outlined by Sir Stephen Tallents of the Empire Marketing Board in the early thirties, which stressed the disinterestedness of Britain in international affairs (i.e. a particular kind of ‘‘inwardness’’), traditions of justice, law and order, a sense of fair play and fair dealing, and a coolness in national character. Passport to Pimlico reinforces the inwardness of the British charac￾ter, but emphasises a determination amongst the British people to see justice be done in an experiential rather than legal sense. Burgundy becomes the underdog, the disenfranchised, the mistreated, when it is estranged from the British government, but its predicament mobilises the support of the British people, who recognise their own indomita￾ble spirit in the pursuit of a fair deal. Sympathy is further mobilised when Burgundy’s food supplies (largely care parcels provided by British supporters) are lost in a flood. These moments, of course, are all signifiers of wartime trials and tribulations which contemporary audiences readily recognised, identified with, and enjoyed. Consen￾sus on screen becomes complicit consensus amongst viewers. When Burgundy is forced to rejoin Britain, it is the spirit of compromise and resolution which is celebrated. Pemberton succeeds in his dream to create a children’s recreation area with the proceeds of the Burgundy treasure, but perhaps more importantly, he and the community have succeeded in having a democratic voice. Govern￾ment has succeeded in providing a solution to a complex social problem and has been warned of its complacency. With lessons learned and victories won, the ration book, now a symbol for rationale is reinstated. Passport to Pimlico is a tribute to the war effort, and not merely a nostalgic longing for its terms and conditions. It is a celebra￾tion of what the British are, and what they want to be, and though it

FILMS. 4th EDItION PATHS OF GLORY seem conservative in its outlook to contemporary viewers, it Mann, Michael, Kirk Douglas. New York, 1985 resents a lack of cynicism which characterises the pride, dignity Douglas, Kirk, The Ragman's Son, New York, 1988 and hope many British people felt in the post-war period. Passport to Thomas, Tony, Films of Kirk Douglas, Pimlico is about goodwill expressed with Falsetto, Mario, Stanley Kubrick: A Narrative and Stylistic Analysis, Westport, 1994 Paul Wells Jenkins, Greg, Stanley Kubrick and the Art of Adaptation: Three Novels. Three films. Jefferson. 1997. Howard, James, Stanley Kubrick Companion, London, 1999 Garcia Mainar. Luis M. Narrative and Stylistic Pattems in the films PATHER PANCHALI of Stanley kubrick, Rochester, 2000. See THE APU TRIlogY Nelson, Thomas Allen. Kubrick: Inside a Film Artists Maze. Bloom- PATHS OF GLORY Articles Variety(New York), 20 November 1957 USA,1957 Motion Picture Herald (New York ) 23 November 1957 Kine Weekly(London). 26 December 1957. Director: Stanley Kubrick Lambert, Gavin, in Sight and Sound (London), winter 1957-58 Film Culture(New York), February 1958 Production: Harris-Kubrick Pictures Corporatoin A Bryna Produc- Houston, Penelope, in Monthly Film Bulletin(London), vol. 25, no tions presentation, for United Artists; black and white; running time 87 minutes; length: 7, 783 feet. Released November 1957 Kubrick, Stanley, ""Words and Movies, in Sight and Sound (Lon don), Winter 1961 Producer: James B. Harris; screenplay: Stanley Kubrick, Calder Burgess, Jackson, The Antimilitarism of Stanley Kubrick, ""in Film lingham, and Jim Thompson, based on the novel by Humphrey Quarterly(Berkeley), Fall 1964. Cobb: photography: George Krause: editor: Eva Kroll; sound: Stanley Kubrick" in Cahiers du Cinema(Paris), December 1964- Martin Muller; art director: Ludwig Reiber; music: Gerald Fried January 1965. military adviser: Baron Von Waldenfels. Strick, Phillip, and Penelope Houston, Interview with Stanley Kubrick, in Sight and Sound (London), Spring 1972. Cast: Kirk Douglas(Colonel Dax): Ralph Meeker(CpL. Paris): Monaco, James, "" The Films of Stanley Kubrick, in New School Adolphe Menjou( General Broulard); George Macready(General Bulletin(New York), Summer 1973 Mireau); Wayne Morris(Lt Roget); Richard Anderson(Major Saint- Deer, Harriet and Irving, "Kubrick and the Structures of Popular Auban); Joseph Turkel (Private Arnaud): Timothy Carey (Private Culture, in Joumal of Popular Film(Washington D.C. ) Sum- Ferol); Peter Capell( Colonel Judge): Susanne Christian(German mer1974. Girl); Bert Freed (Sgt Boulanger); Emile Meyer(Priest); John Stein Ferro, Marc, in Jeune Cinema(Paris), April 1975 Captain Rosseau); Harold Benedict( Captain Nichols) Image et Son(Paris), September 1976 Binni, w., and A. lombardo, 'Poetiche ed ideologie di tre regist. in Cinema Nuovo(Bari), January-February 1977 Publications Combs, Richard, in Monthly Film Bulletin(London), August 1984 Walker, Alexander, in Radio Times(London ) 25 April, 1985 Books Listener(London), 12 January 1989 Alonge, A. G,"ll nemico inesistente, ' in Quaden di Cinema Austen, David, The Cinema of stanley Kubrick, London, 1969 Florence), July-September 1990. Kagen, Norman, The Cinema of Stanley Kubrick, New York, 1972. Kelly, A, The Brutality of Military Incompetence: Paths of Glory Walker. Alexander. Stanley Kubrick Directs. New York. 1972 in Historical Journal of Film, Radio and Television(Abingdon, Devries, Daniel, The Films of Stanley Kubrick, Grand Rapids, Michi- Oxfordshire), no. 2, 1993 Denby, David, "Voyage of the Damned: Paths of Glory Directed by Bobker, Lee, Elements of Film, New York, 1974 Stanley Kubrick, in Premiere(New York), voL. 4, no. 11 Phillips, Gene D, Stanley Kubrick: A Film Odyssey, New York, 1975 Ciment, Michel, Kubrick, Paris, 1980; revised edition, 1987:trans- Kelly, Andrew, The Brutality of Military Incompetence: Paths of ated as Kubrick. London. 1983 Glory(1957), in Historical Journal of Film, Radio and Televi olker, Robert Phillip, A Cinema of Loneliness: Penn, Kubrick, sion(Abingdon), vol. 13, no 2, June 1993 Coppola, Scorsese, Altman, Oxford, 1980; revised edition, 1988. Reid's Film Index(wyong), 15 November 1995 Miller, Gabriel, Screening the Novel: Rediscovered American Fiction in Film. New York, 1980. Hummel, Christoph, editor, Stanley Kubrick, Munich, 1984 Brunetta, Gian Piero, Stanley Kubrick. Tempo, spazio, storia, e mondi Humphrey Cobb's poorly written but powerful novel of the french army in World War I was published in 1935. Some people in

FILMS, 4 PATHS OF GLORY th EDITION 927 may seem conservative in its outlook to contemporary viewers, it represents a lack of cynicism which characterises the pride, dignity and hope many British people felt in the post-war period. Passport to Pimlico is about goodwill expressed with good humour. —Paul Wells PATHER PANCHALI See THE APU TRILOGY PATHS OF GLORY USA, 1957 Director: Stanley Kubrick Production: Harris-Kubrick Pictures Corporatoin. A Bryna Produc￾tions presentation, for United Artists; black and white; running time: 87 minutes; length: 7,783 feet. Released November 1957. Producer: James B. Harris; screenplay: Stanley Kubrick, Calder Willingham, and Jim Thompson, based on the novel by Humphrey Cobb; photography: George Krause; editor: Eva Kroll; sound: Martin Muller; art director: Ludwig Reiber; music: Gerald Fried; military adviser: Baron Von Waldenfels. Cast: Kirk Douglas (Colonel Dax); Ralph Meeker (Cpl. Paris); Adolphe Menjou (General Broulard); George Macready (General Mireau); Wayne Morris (Lt. Roget); Richard Anderson (Major Saint￾Auban); Joseph Turkel (Private Arnaud); Timothy Carey (Private Ferol); Peter Capell (Colonel Judge); Susanne Christian (German Girl); Bert Freed (Sgt. Boulanger); Emile Meyer (Priest); John Stein (Captain Rosseau); Harold Benedict (Captain Nichols). Publications Books: Austen, David, The Cinema of Stanley Kubrick, London, 1969. Kagen, Norman, The Cinema of Stanley Kubrick, New York, 1972. Walker, Alexander, Stanley Kubrick Directs, New York, 1972. Devries, Daniel, The Films of Stanley Kubrick, Grand Rapids, Michi￾gan, 1973. Bobker, Lee, Elements of Film, New York, 1974. Phillips, Gene D., Stanley Kubrick: A Film Odyssey, New York, 1975. Ciment, Michel, Kubrick, Paris, 1980; revised edition, 1987; trans￾lated as Kubrick, London, 1983. Kolker, Robert Phillip, A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman, Oxford, 1980; revised edition, 1988. Miller, Gabriel, Screening the Novel: Rediscovered American Fiction in Film, New York, 1980. Hummel, Christoph, editor, Stanley Kubrick, Munich, 1984. Brunetta, Gian Piero, Stanley Kubrick: Tempo, spazio, storia, e mondi possibli, Parma, 1985. Mann, Michael, Kirk Douglas, New York, 1985. Douglas, Kirk, The Ragman’s Son, New York, 1988. Thomas, Tony, Films of Kirk Douglas, Secaucus, 1991. Falsetto, Mario, Stanley Kubrick: A Narrative and Stylistic Analysis, Westport, 1994. Jenkins, Greg, Stanley Kubrick and the Art of Adaptation: Three Novels, Three Films, Jefferson, 1997. Howard, James, Stanley Kubrick Companion, London, 1999. Garcia Mainar, Luis M., Narrative and Stylistic Patterns in the Films of Stanley Kubrick, Rochester, 2000. Nelson, Thomas Allen, Kubrick: Inside a Film Artist’s Maze, Bloom￾ington, 2000. Articles: Variety (New York), 20 November 1957. Motion Picture Herald (New York), 23 November 1957. Kine Weekly (London), 26 December 1957. Lambert, Gavin, in Sight and Sound (London), Winter 1957–58. Film Culture (New York), February 1958. Houston, Penelope, in Monthly Film Bulletin (London), vol. 25, no. 289, 1958. Kubrick, Stanley, ‘‘Words and Movies,’’ in Sight and Sound (Lon￾don), Winter 1961. Burgess, Jackson, ‘‘The Antimilitarism of Stanley Kubrick,’’ in Film Quarterly (Berkeley), Fall 1964. ‘‘Stanley Kubrick’’ in Cahiers du Cinéma (Paris), December 1964- January 1965. Strick, Phillip, and Penelope Houston, ‘‘Interview with Stanley Kubrick,’’ in Sight and Sound (London), Spring 1972. Monaco, James, ‘‘The Films of Stanley Kubrick,’’ in New School Bulletin (New York), Summer 1973. Deer, Harriet and Irving, ‘‘Kubrick and the Structures of Popular Culture,’’ in Journal of Popular Film (Washington D.C.), Sum￾mer 1974. Ferro, Marc, in Jeune Cinéma (Paris), April 1975. Image et Son (Paris), September 1976. Binni, W., and A. Lombardo, ‘‘Poetiche ed ideologie di tre registi,’’ in Cinema Nuovo (Bari), January-February 1977. Combs, Richard, in Monthly Film Bulletin (London), August 1984. Walker, Alexander, in Radio Times (London), 25 April, 1985. Listener (London), 12 January 1989. Alonge, A. G., ‘‘Il nemico inesistente,’’ in Quaderni di Cinema (Florence), July-September 1990. Kelly, A., ‘‘The Brutality of Military Incompetence: Paths of Glory,’’ in Historical Journal of Film, Radio and Television (Abingdon, Oxfordshire), no. 2, 1993. Denby, David, ‘‘Voyage of the Damned: Paths of Glory Directed by Stanley Kubrick,’’ in Premiere (New York), vol. 4, no. 11, July 1991. Kelly, Andrew, ‘‘The Brutality of Military Incompetence: Paths of Glory (1957),’’ in Historical Journal of Film, Radio and Televi￾sion (Abingdon), vol. 13, no. 2, June 1993. Reid’s Film Index (Wyong), 15 November 1995. *** Humphrey Cobb’s poorly written but powerful novel of the French army in World War I was published in 1935. Some people in

PATHS OF GLORY FILMS. 4 EDITIoN Paths of Glory Hollywood wanted to film it then but to change its setting to pre- firing squad; and, all the while, the camera travels with them, Revolutionary Russia so as not to offend any existing government. In inexorably leading the characters and the viewer down these"paths 1957, after Stanley Kubrick, Calder Willingham, and Jim Thompson of glory, 'to the grave wrote the screenplay, nobody wanted to touch it until Kirk Douglas And Paths of Glory is happily free from Kubricks unfortunate got behind the project( Douglas claims that Kubrick then rewrote the tendency toward misogyny. That' s partly because(discounting the ory--including a happy ending with a last-minute reprieve for the xtras at General Broulard,'s soiree) there are no women in the condemned soldiers-in a wrong-headed effort to make it more movie-except for the one"enemy"captive, the only German whom commercial, but that he made Kubrick go back to the original script. we see. This young woman, coerced into singing for the rowdy troops, When it was released, the movie was not a commercial success-and is the catalyst for the films poignant ending. After all the callous it did offend the French government, which banned it for 20 years. disregard for human life up to this point, we see the soldiers drop their Paths of Glory is Kubricks best motion picture. It lacks the mocking bravado one by one to hum along with her. She is played by discursiveness that characterizes all of his later work; true to its Susanne Christian, Kubricks third wife.) ource. the movie is practically Aristotelian in its unity of action, Paths of Glory is always hailed as a great anti-war film, and- time, and place. It has none of the lethargic pacing that mars parts of visually-it does make a statement about the horrors of war, showin Lolita, much of 2001: A Space Odyssey, and all of Barry Lyndon the broken and wounded in the trenches(almost off-handedly unlike those films, Paths has a constant, driving rhythm: usually the background) and the wholesale, senseless slaughter on the battlefield ut, even more than that, it is an anti-military film(and, by extension, ly, as in cinematographer George Krause's celebrated tracking an indictment of all hierarchical systems which sacrifice human shots: officers move through the trenches; the army makes its abortive beings for expediency ) From the opening credits, over which"La attack on the Anthill(delicately renamed from the Pimple of the Marseillaise" is martially played, ending on a discordant note, the novel): the three court-martialed soldiers are led to their deaths by the film expands upon the novels themes, developing and driving home 928

PATHS OF GLORY FILMS, 4th EDITION 928 Paths of Glory Hollywood wanted to film it then but to change its setting to pre￾Revolutionary Russia so as not to offend any existing government. In 1957, after Stanley Kubrick, Calder Willingham, and Jim Thompson wrote the screenplay, nobody wanted to touch it until Kirk Douglas got behind the project. (Douglas claims that Kubrick then rewrote the story—including a happy ending with a last-minute reprieve for the condemned soldiers—in a wrong-headed effort to make it more commercial, but that he made Kubrick go back to the original script.) When it was released, the movie was not a commercial success—and it did offend the French government, which banned it for 20 years. Paths of Glory is Kubrick’s best motion picture. It lacks the discursiveness that characterizes all of his later work; true to its source, the movie is practically Aristotelian in its unity of action, time, and place. It has none of the lethargic pacing that mars parts of Lolita, much of 2001: A Space Odyssey, and all of Barry Lyndon; unlike those films, Paths has a constant, driving rhythm: usually the camera or the characters are always in motion, sometimes simultane￾ously, as in cinematographer George Krause’s celebrated tracking shots: officers move through the trenches; the army makes its abortive attack on the Anthill (delicately renamed from the Pimple of the novel); the three court-martialed soldiers are led to their deaths by the firing squad; and, all the while, the camera travels with them, inexorably leading the characters and the viewer down these ‘‘paths of glory,’’ to the grave. And Paths of Glory is happily free from Kubrick’s unfortunate tendency toward misogyny. That’s partly because (discounting the extras at General Broulard’s soirée) there are no women in the movie—except for the one ‘‘enemy’’ captive, the only German whom we see. This young woman, coerced into singing for the rowdy troops, is the catalyst for the film’s poignant ending. After all the callous disregard for human life up to this point, we see the soldiers drop their mocking bravado one by one to hum along with her. (She is played by Susanne Christian, Kubrick’s third wife.) Paths of Glory is always hailed as a great anti-war film, and— visually—it does make a statement about the horrors of war, showing the broken and wounded in the trenches (almost off-handedly, as background) and the wholesale, senseless slaughter on the battlefield. But, even more than that, it is an anti-military film (and, by extension, an indictment of all hierarchical systems which sacrifice human beings for expediency). From the opening credits, over which ‘‘La Marseillaise’’ is martially played, ending on a discordant note, the film expands upon the novel’s themes, developing and driving home

FILMS. 4th EDItION PEEPING TOM the point of the army as a corporation and its officers as ruthless businessmen, using subordinates for personal gain. General Broulard(Adolph Menjou)of the French high comman approaches ambitious General Mireau( Georg ready) with impossible task-to take a highly fortified German position within 36 hours-dangling a promotion in front of him as incentive(Menjou played many suave villains in his career, but casting him as the anipulative Broulard is doubly appropriate, since, in his private life, he was a notorious reactionary and one of the"friendly witnesses when HUAC investigated Hollywood. Talking himself into the success of the operation, Mireau then dumps its accomplishment on Colonel Dax(Kirk Douglas) and his battle-weary troops (The role of Dax is fleshed out and conflated with that of Captain Etienne in the novel in order to give the film a hero, a moral center with which the audience can identify. Mireau even goes so far as(unsuccessfully) to command his artillery to fire on those troops when the battle doesnt go so well He's prevented by an ordnance officer who insists on having the order in writing-illustrating the First Rule of corporate life: "cover your s. When the attack fails. Mireau wants to cover his ass. so looks for a scapegoat and trumps up charges of cowardice against a trio of randomly selected soldiers. Dax argues their cases eloquently at the maddening kangaroo court martial which follows, to no avail. The novel concludes with the soldier's executions; the film goes beyond that episode, bringing the corruption around full circle nstigator Broulard is the agent of Mireau' s comeuppance, giving the viewer some slight satisfaction(because the condemned men have already been killed). The ever-cynical Broulard misinterprets Daxs motives in exposing Mireau, thinking Dax has done it to gain foulard is only too happy to give him). Dax Peeping Tom huntly disabuses broulard, giving the viewer intense but fleeting satisfaction: Broulard has Dax and his men transferred back to the Wallace(Tony): Susan Travers(Lorraine): Maurice Durant(Public- front. The system works-for those in charge of the system ry chief): Brian Worth(Assistant director): Veronica Hurst(Miss Simpson): Miles Malleson(Elderly gentleman): Alan Rolfe(Store Anthony Ambrogi detective); Michael Powell (Mr Lewis); John Dun PEEPING TOM Publications Books UK,1960 Director: Michael Powell Gough-Yates, Kevin, Michael Powell, London, 1971 Durgnat, Raymond, Films and Feelings, Cambridge, Massachu setts. 1971 Production: Anglo Amalgamated; Eastmancolor, 35mm, running Durgnat, Raymond, A Mirror for England, London, 1971 ime: 109 minutes. other versions include 90 minutes and 86 minutes Christie, lan, editor, Powell, Pressburger, and Others, London, 1978 Released April 1960, London. Armes, Roy, A Critical History of British Cinema, New York, 1978 Cosandey, Roland, editor, Retrospective: Powell and Pressburger Producers: Michael Powell with albert Fennell Locarno. 1982 Marks: photography: Otto Heller; editor: Noreen Gottler, Fritz, and others, Living Cinema: Powell and Pressburger, C. C. Stevens and Gordon McCallum: art director: Munich. 1982. set decorator: Ivor Beddows: music: Brian Easdale Christie, lan, Arrows of Desire: The Films of Michael Powell and Emeric Pressburger, London, 1985 Cast: Karl Boehm(Mark Lewis): Moira Shearer (Vivian); Anna Martini, Emanuela, editor, Powell and Pressburger, Bergamo, 1986 assey(Helen Stephens): Maxine Audley(Mrs. Stephens): Esmond Powell, Michael, A Life in Movies: An Autobiography, London, 1986 Knight(Arthur Baden); Bartlett Mullins(Mr. Peters); Shirley Ann Cintra Ferreira, Manuel, Michael Powell, Lisbon, 1992. ield(Diane Ashley); Michael Goodliffe(Don Jarvis): Brenda Bruce Howard, James, Michael Powell, North Pomfret, 1996 (Dora): Martin Miller(Dr. Rosan): Pamela Green (Milly); Jack Salwolke, Scott, The Films of Michael Powell and the Archers, Watson(Inspector Gregg): Nigel Davenport(Sergeant Miller): Brian Lanham. 1997

FILMS, 4th EDITION PEEPING TOM 929 the point of the army as a corporation and its officers as ruthless businessmen, using subordinates for personal gain. General Broulard (Adolph Menjou) of the French high command approaches ambitious General Mireau (George Macready) with an impossible task—to take a highly fortified German position within 36 hours—dangling a promotion in front of him as incentive. (Menjou played many suave villains in his career, but casting him as the manipulative Broulard is doubly appropriate, since, in his private life, he was a notorious reactionary and one of the ‘‘friendly witnesses’’ when HUAC investigated Hollywood.) Talking himself into the success of the operation, Mireau then dumps its accomplishment on Colonel Dax (Kirk Douglas) and his battle-weary troops. (The role of Dax is fleshed out and conflated with that of Captain Etienne in the novel in order to give the film a hero, a moral center with which the audience can identify.) Mireau even goes so far as (unsuccessfully) to command his artillery to fire on those troops when the battle doesn’t go so well. He’s prevented by an ordnance officer who insists on having the order in writing—illustrating the First Rule of corporate life: ‘‘cover your ass.’’ When the attack fails, Mireau wants to cover his ass, so looks for a scapegoat and trumps up charges of cowardice against a trio of randomly selected soldiers. Dax argues their cases eloquently at the maddening kangaroo court martial which follows, to no avail. The novel concludes with the soldier’s executions; the film goes beyond that episode, bringing the corruption around full circle: instigator Broulard is the agent of Mireau’s comeuppance, giving the viewer some slight satisfaction (because the condemned men have already been killed). The ever-cynical Broulard misinterprets Dax’s motives in exposing Mireau, thinking Dax has done it to gain Mireau’s job (which Broulard is only too happy to give him). Dax bluntly disabuses Broulard, giving the viewer intense but fleeting satisfaction: Broulard has Dax and his men transferred back to the front. The system works—for those in charge of the system. —Anthony Ambrogio PEEPING TOM UK, 1960 Director: Michael Powell Production: Anglo Amalgamated; Eastmancolor, 35mm, running time: 109 minutes, other versions include 90 minutes and 86 minutes. Released April 1960, London. Producers: Michael Powell with Albert Fennell; screenplay: Leo Marks; photography: Otto Heller; editor: Noreen Ackland; sound: C. C. Stevens and Gordon McCallum; art director: Arthur Lawson; set decorator: Ivor Beddows; music: Brian Easdale. Cast: Karl Boehm (Mark Lewis); Moira Shearer (Vivian); Anna Massey (Helen Stephens); Maxine Audley (Mrs. Stephens); Esmond Knight (Arthur Baden); Bartlett Mullins (Mr. Peters); Shirley Ann Field (Diane Ashley); Michael Goodliffe (Don Jarvis); Brenda Bruce (Dora); Martin Miller (Dr. Rosan); Pamela Green (Milly); Jack Watson (Inspector Gregg); Nigel Davenport (Sergeant Miller); Brian Peeping Tom Wallace (Tony); Susan Travers (Lorraine); Maurice Durant (Public￾ity chief); Brian Worth (Assistant director); Veronica Hurst (Miss Simpson); Miles Malleson (Elderly gentleman); Alan Rolfe (Store detective); Michael Powell (Mr. Lewis); John Dunbar. Publications Books: Gough-Yates, Kevin, Michael Powell, London, 1971. Durgnat, Raymond, Films and Feelings, Cambridge, Massachu￾setts, 1971. Durgnat, Raymond, A Mirror for England, London, 1971. Christie, Ian, editor, Powell, Pressburger, and Others, London, 1978. Armes, Roy, A Critical History of British Cinema, New York, 1978. Cosandey, Roland, editor, Retrospective: Powell and Pressburger, Locarno, 1982. Gottler, Fritz, and others, Living Cinema: Powell and Pressburger, Munich, 1982. Christie, Ian, Arrows of Desire: The Films of Michael Powell and Emeric Pressburger, London, 1985. Martini, Emanuela, editor, Powell and Pressburger, Bergamo, 1986. Powell, Michael, A Life in Movies: An Autobiography, London, 1986. Cintra Ferreira, Manuel, Michael Powell, Lisbon, 1992. Howard, James, Michael Powell, North Pomfret, 1996. Salwolke, Scott, The Films of Michael Powell and the Archers, Lanham, 1997