Editing Paths of Glory (section)

===Filming===
[[File:Kubrick on the set of Paths of Glory (1957 publicity photo).jpg|thumb|244x244px|Kubrick on the set of ''Paths of Glory'' (1957 publicity photo)]]
Production took place entirely in [[Bavaria]], [[Germany]], especially at the [[Schleissheim Palace]] near [[Munich]].<ref>{{cite web |title=The Brutality of Military Incompetence: Paths of Glory and King and Country |url=https://scrapsfromtheloft.com/2016/09/24/brutality-military-incompetence-paths-glory-king-country/ |website=scrapsfromtheloft |date=September 24, 2016 |access-date=15 February 2019 |archive-date=June 15, 2019 |archive-url=https://web.archive.org/web/20190615064123/https://scrapsfromtheloft.com/2016/09/24/brutality-military-incompetence-paths-glory-king-country/ |url-status=live }}</ref> [[Timothy Carey]] was fired during production. He was reportedly extremely difficult to work with, even to the extent of faking his own kidnapping, holding up the whole production.<ref>{{Cite web|url=http://www.absolutefilms.net/tim_carey/unomas.html|title=Uno Mas "The Wonderful Horrible Life Of Timothy Carey"|website=www.absolutefilms.net|access-date=2019-02-17|archive-date=September 14, 2017|archive-url=https://web.archive.org/web/20170914034252/http://www.absolutefilms.net/tim_carey/unomas.html|url-status=live}}</ref> He was replaced in the scenes remaining to be shot with a double.<ref>{{cite web |last1=Beyl |first1=Cameron |title=Stanley Kubrick's Pathe of Glory (1957) |url=https://directorsseries.net/2016/02/11/stanley-kubricks-paths-of-glory-1957/ |website=directorsseries |date=February 11, 2016 |access-date=15 February 2019 |archive-date=February 16, 2019 |archive-url=https://web.archive.org/web/20190216035228/https://directorsseries.net/2016/02/11/stanley-kubricks-paths-of-glory-1957/ |url-status=live }}</ref> The film cost slightly less than $1 million and just about broke even.<ref name="Gritten2019">{{cite web |last1=Gritten |first1=David |title=Paths of Glory: Stanley Kubrick's greatest war film? |url=https://www.telegraph.co.uk/culture/film/classic-movies/10804982/Paths-of-Glory-Stanley-Kubricks-greatest-war-film.html |website=The Telegraph |date=May 3, 2014 |access-date=15 February 2019 |archive-date=February 15, 2019 |archive-url=https://web.archive.org/web/20190215215849/https://www.telegraph.co.uk/culture/film/classic-movies/10804982/Paths-of-Glory-Stanley-Kubricks-greatest-war-film.html |url-status=live }}</ref>

Due to having three years' military training, around 600 German police officers were used as extras for soldiers. The last scenes filmed were those that take place on the battlefield. For the construction of the battlefield, Kubrick hired 5,000 square yards (0.4 hectares) of land from a local farmer.<ref name="auto"/> It took Kubrick a month to set up the filming of the assault, arranging props and tearing up the field to look like a war zone. For the filming of the battle sequence, the battlefield was divided into five regions where explosive charges were specifically placed. This made it easier for Kubrick to film the dying of extras as he split the extras into five groups, one for each of the regions, and each man would die in his own zone by an explosion that was near him.<ref name="auto1"/>

An early critical test of Kubrick's obsession with control on the set came during the making of ''Paths of Glory''. As recalled by Kirk Douglas:
{{blockquote|He made the veteran actor Adolphe Menjou do the same scene 17 times. "That was my best reading." Menjou announced. "I think we can break for lunch now." It was well past the usual lunch time but Kubrick said he wanted another take. Menjou went into an absolute fury. In front of Douglas and the entire crew he blasted off on what he claimed was Kubrick's dubious parentage and made several other unprintable references to Kubrick's relative greenness in the art of directing actors. Kubrick merely listened calmly and after Menjou had spluttered to an uncomplimentary conclusion said quietly: "All right, let's try the scene once more." With utter docility, Menjou went back to work. "Stanley instinctively knew what to do," Douglas says.<ref name=Alpert/>}}

The only female character in the film, the woman who sings "[[The Faithful Hussar]]", is portrayed by German actress [[Christiane Kubrick|Christiane Harlan]] (credited in the film as Susanne Christian). She and Kubrick later married; the couple remained together until his death in 1999.<ref>{{cite web|url=https://www.kcet.org/shows/artbound/falling-in-love-with-a-story-christiane-kubrick-on-the-legacy-of-stanley-kubrick|title=Falling In Love With A Story: Christiane Kubrick on the Legacy of Stanley Kubrick|website=kcet|date=October 30, 2012|access-date=15 February 2019|archive-date=February 15, 2019|archive-url=https://web.archive.org/web/20190215220210/https://www.kcet.org/shows/artbound/falling-in-love-with-a-story-christiane-kubrick-on-the-legacy-of-stanley-kubrick|url-status=live}}</ref> It was on set that they originally had met.<ref name="auto4"/>

====Kubrick's use of visual imagery and mise-en-scene====

''Paths of Glory'' employs both camera-work and audio cues to create a sense of realism, thus making it easier for the audience to sympathize with the plight of the accused soldiers. In the beginning of the film a snare drum plays, and the music is reminiscent of war era newsreels. During the battle sequences, the camera keeps pace with the soldiers but in other ways, the shots look like old trench warfare footage from World War I. The film's choice of black and white further emphasizes its similarity to the actual newsreels of the conflict.

Richard Anderson, who played the acerbic prosecutor, recalled of Kubrick: "As soon as we started shooting, I knew immediately what Stanley was interested in: The shot. Always the shot. He worked with George Krause, the German cinematographer, to make sure that everything looked like a newsreel of World War I. Kubrick had studied many photographs of the war in the library. The film was low keyed and had a grainy look to it. That's what Stanley was interested in."<ref>{{Cite web |title=American Legends - Paths of Glory |url=https://americanlegends.com/Interviews/paths_of_glory.html#:~:text=This%20anti-war%20theme%20was,(who%20remained%20safely%20behind). |access-date=2025-03-04 |website=americanlegends.com}}</ref>

Kubrick's vision of war was far bleaker than that of some other films of the era, which also influenced the director's choice to shoot the picture in black and white. The visuals also allow the audience to see the difference between "life in the trenches" and "life in the command". From the opulent mansion of the high-ranking officers, the audience notices wide shots from the exterior and the interior. The viewer misses nothing; every decadent piece of furniture, jewelry or bauble that the senior officers have, in sharp contrast to the trenches where the shots are much tighter. Close ups and point-of-view shots (e.g. from Colonel Dax's perspective) are cramped and tight, suffocating for the audience. Switching to a shot in front of Dax's person, e.g. a walking shot, the audience becomes much like the other soldiers accompanying him in the trenches, feeling stuck and trapped in the confined and dangerous space.<ref>{{Citation|last=Indie Film Hustle|title=Stanley Kubrick: Paths of Glory & Kirk Douglas Years (The Directors Series) – Indie Film Hustle|date=2018-01-16|url=https://www.youtube.com/watch?v=XohngVy9cho| archive-url=https://web.archive.org/web/20201109023545/https://www.youtube.com/watch?v=XohngVy9cho| archive-date=2020-11-09 | url-status=dead|access-date=2019-02-17}}</ref>