VidMate
Free YouTube video & music downloader
ACTOR
Pierre BlancharGabriel GabrioCharles VanelRaymond Aimos
DIRECTOR
Raymond Bernard
SYNOPSICS
Les croix de bois (1932) is a French,German movie. Raymond Bernard has directed this movie. Pierre Blanchar,Gabriel Gabrio,Charles Vanel,Raymond Aimos are the starring of this movie. It was released in 1932. Les croix de bois (1932) is considered one of the best Drama,War movie in India and around the world.
The young and patriotic student Demachy joins the French army in 1914 to defend his country. But he and his comrades soon experience the terrifying, endless trench war in Champagne, where more and more wooden crosses have to be erected for this cannon fodder.
Same Actors
Les croix de bois (1932) Reviews
The best forgotten classic I've ever seen
Comments on this film are bound to centre around comparisons to All Quiet On the Western Front - reasonably enough, since Wooden Crosses was specifically made as a rival to that film. It isn't as engrossing as Milestone's classic, perhaps because it never really characterises the soldiers strongly enough, and also because it lacks the variety of incident which makes All Quiet so entertaining despite its grim subject matter and episodic structure. But both these flaws are also strengths: Bernard's skill in conveying the de-humanising effects of war, as well as the sheer repetitious tedium of the ordinary soldier's experience, lend to his film a bitterness and realism which its - occasionally naive - American predecessor lacked. There are one or two scenes in this film so bitter and horrifying that no war film matched them until at least the 1950s. For this reason, the film may find more sympathy with today's audiences, who - after Apocalypse Now, Full Metal Jacket, The Thin Red Line, Jarhead etc - expect a war film to immerse them in sheer violent futility for two hours, and are likely to regard lack of incident as a mark of authenticity. This film is nothing if not authentic (the cast was made up entirely of war veterans), and the documentary realism of the battle scenes was a real shock to me. Complaints that, unlike most war films, it makes no reference to the wider context of the war, are understandable...but I think they miss the point. The film is indeed a violent mess: what else must it have felt like for the men in the trenches? Wooden Crosses faithfully plays out Lew Ayres' famous speech from All Quiet (maybe paraphrasing here): 'We live in the trenches and we fight. We try not to get killed. That's all.' I thought I already knew how inventive and daring early '30s film-makers were, but just on the strength of this film (haven't watched Les Miserables yet...) Bernard deserves to stand with the best of them - Lang, Milestone, Vidor, Eisenstein. The lyrical beauty of so many of the images in Wooden Crosses, and the intense horror of some others, left me gaping in disbelief at the screen, and will always stay with me. Perhaps because it's 76 years old, and because it's such an unsung pioneer, this film makes me revert to clichés and superlatives. But it really is one of the very best war films ever made.
Better than most modern war films and a must see
Based on a biographical novel concerning life during WW1 this is included in the Raymond Bernard Box set from Eclipse (ie. Criterion). Made in 1932 the film seems to have been made years later. The technical aspects of the film are astounding. a blending of silent and sound techniques with images that foreshadow the Hollywood films of the 1940's, the war documentaries of the second world war not to mention modern films such as Saving Private Ryan and the Thin Red Line this film for the most part doesn't feel 75 years old. The plot follows a company of men from enlistment to the end. After a slow start where the film introduces everyone and we get a feel for the characters the movie moves to the trenches and battle where we are placed into harms way with the men we have been introduced to. What follows are essentially a series of set pieces that move the men further and further in to war's nightmare. There is a sequence where the men wait in the trenches and in one bunker in particular, where they can hear the German tunneling below them to place charges which will, when detonated blow them to kingdom come. Its an unnerving sequence since the men know whats coming but are unable to do anything about it- except hope that their rotation comes before the bombs go off. The centerpiece of the film is an never ending attack, on ward and onward and onward. How could anyone do such a thing? As a title card say the attack lasted for ten days. I was exhausted by the sequence and it lasted only for twenty or so minutes. Its an amazing piece of film making. If there is a flaw in the film its that the dialog sequences seem more Hollywood convention (if you'll allow me to say about a film made in France). The group of men are your standard bunch and they all seem to get lost. Not that it ruins the film, it doesn't, it just keeps the film from having that complete emotional connection. Rightly considered a classic film, this is must viewing for anyone who loves the cinema.
Terrific dark anti-war WWI film
Terrific dark anti-war WWI film, light years ahead of it's time stylistically, with battle scenes that rival (and clearly inspired) Kubrick's great 'Paths of Glory'. More cynical, cutting, and real than 'All Quiet on the Western Front'. The film focuses on the various members of a battalion who are basically canon fodder. There's no real lead, just an observation of these slowly hardening men, as a group, and no real plot, just a series of episodes. Not every episode is as strong as the other, but enough are so powerful they make this a special and important film, amazingly directed for its time.
I say it again:horror is timeless.
The precedent user wrote that he saw old men crying while watching this film.Such is the strength of these pictures.Raymond Bernard's movie compares favorably with "All quiet on the western front" (Lewis Milestone)"Westfront 1918" (Pabst) or even more recent works such as "paths of glory" . Bernard 's approach (transferring a best-seller for the screen) was almost documentary.We know almost nothing about the three leads.The intermixing of the social classes (there is a baker,a worker and a law student)was not,as it has often been mooted,the main subject -as it was in Renoir's "la grande illusion" - of "les croix de bois" .Its purpose is,as the precedent user wrote,to show that horror is timeless. "If you do not get the military Cross ,you'll get the wooden cross " the soldiers sing.The prologue tells it all: ranks of soldiers become ranks of crosses.In "J'accuse"(Abel gance,1938),a soldier says that pretty soon there will not be enough wood to make crosses for the graveyards. Admirable sequences: -A soldier is singing a peaceful "Ave Maria" in a church but a terrifying camera movement reveals an improvised hospital with disabled soldiers . -A dead soldier has received a letter.One of his mates lays it down on his grave with a rose. -The central battle scene which lasts about 15 minutes.On the screen ,a line appears "it lasted ten days" ,then another one "ten days" ,then in large characters "TEN DAYS". -The soldiers taking refuge in a graveyard (!) where one of them (Charles Vanel) is dying, cursing again and again his unfaithful wife,then breathing his forgiveness. -The student's death ,with death rattles and cries of terror all around him (I want my mum!I do not wanna die!).The ending does not use any music,which was rare at the time, and it increases tenfold strength and emotion. After watching this movie on TV,in 1962, a WW1 old campaigner committed suicide.It speaks volumes about the strength of these pictures.
The worst of the first world war from a more objective French point of view.
What makes this film so impressive is its sinister direction, always kept at a calm distance but firm control by Raymond Bernard in visualizing a hell on earth worse than any hell imaginable, as it gives an all too convincing impression of never ending. The central battle scene in the middle of the film gives its definite stamp of a relentlessly realistic documentary in which category it outshines almost all the other first world war films including "All Quiet on the Western Front" (more personal), Rex Ingram's "The Four Horsemen of the Apocalypse" (more sentimental), Stanley Kubrick's "Paths of Glory" (more theatrical) Renoir's "The Grand Illusion" (more romantic) and "Oh What a Lovely War!" (musical). Not just the long great battle scene, but many scenes give the impression of going on forever, as they are so implacably sustained resulting in an overwhelming impact, like the dying corporal scene with Charles Vanel, who continued a long distinguished career in films with above Henri-Georges Clouzot in the 50s, and his death scene here is only a prelude to what follows - one can understand the veteran from that war who in 1962. when seeing the film on TV, committed suicide afterwards. It's all about ordinary men, good faithful soldiers, who keep on cheering and making the best of it as if the reality of the timeless horror was just something to accept as the ordinary, their natural cheerful moods and the irony of the absurd military self-deceit accentuating the superior quality of this film as the most realistic of first world war films.