what song do they sing at the end of parh to glory
In Paths of Glory, Col. Dax is the righteous, indignant military machine lawyer who defends three innocent French soldiers existence tried on trumped up charges of cowardice. In truth, the three soldiers are merely scapegoats of the upper brass and are ultimately put to expiry to comprehend over the shame and selfishness of elevation generals. Dax is outraged, having begged the tribunal to have some sense of shame, to deport humanely, to show mercy and clemency.
In the final scene, Dax has just departed the execution of the convicted soldiers, i of whom suffered from a skull fracture and had to be propped upward on a stretcher and slapped awake before being shot. While Dax believes in the dignity of man, he has just seen the nobility behaving similar animals. Dax himself is accused past a general of merely angling for the iii soldiers' release in order to advance his ain career, though Dax denies it with a shout and an oath. The sad soldiers he tried to relieve were brave, but they were condemned past men of power.
The concluding scene occurs in a bar near the site of the execution. None of the men in the bar are named characters. They are simply equally much strangers to us every bit to Dax, who pauses outside the bar.
At the 0:24 mark, nosotros see Dax respond to the men's whooping when a cute German language earnest is brought out onto the stage. Looking at the ground, Dax wonders just how awful the tribunal really was. While the three soldiers executed weren't guilty of cowardice, had they been alive, they would accept likely been in the bar hollering and leering at the girl like everyone else. Maybe in that location is no such thing every bit an innocent man. Dax sighs. As a colonel, he might walk into the bar and disrupt the spectacle, tell the privates to act like men. Would it practice any expert?
"Talk in a civilized language!" roars 1 soldier (0:47) afterward the girl timidly says "Practiced day" in German. It's an ironic control given how uncivilized the behavior of the crowd is. In add-on to whistling and shouting, the men are also laughing and most hysterical. The High german daughter is in tears, though. Her tragedy is their one-act. The sad finish of her day is the happy terminate of their ain day. The audience has coercive power over the girl, and there is something inherently funny about coercive power.
When the barkeep tells the girl to sing a vocal, Kubrick cuts around the room quickly. At 1:18, Kubrick shows us the entire crowd, and between 1:20 and 1:23, nosotros are shown iv individual faces in rapid succession. When the daughter begins singing, though, the editing slows down and we are shown the individual faces again, but this time the camera lingers on them for two or three times as long. The vocal has begun to pacify the men, and and then the frenetic footstep of the editing slows as the gaze of the men moves from carnality to contemplation.
The men begin humming along at 2:25 as the immature blond soldier swallows hard, as though preparing himself for something atrocious. The survey of faces continues, and the men look increasingly worried until the 2:42 marking, when an older soldier appears mortified, aback. At the 2:54 marker, nosotros render to the immature girl who has taken notation of the men's tears, and she regains her confidence, nodding her caput to the audience to encourage them.
As the audience gazes at the helpless girl, the imagination of each soldier wanders off. The think of their wives, sisters and daughters. If a German girl could be plucked from her home and set before a room full of true cat-calling brutes, the same could happen to a girl they knew. The young blond soldier weeps because the daughter is not the enemy, just his own girlfriend, disgraced by jeers. She is no longer a German language daughter, merely a girl, and and then no longer a daughter, but a homo amid other human beings. The soldiers begin to cry not on behalf of the girl, simply every bit the girl. Sympathy is an act of imitation, and every act of imitation is an act of becoming. When the scene begins, at the 0:17 marking, Kubrick pulls back suddenly from a single face, merely at 3:xxx, he slowly draws into a unmarried confront. Equally the audition, we may have judged the men as hastily and brutally as they initially judged the girl. But as the audience lingers on the girl, we linger on the audition. The audience is no longer a mishmash of faces. Rather, each of the brute's faces becomes more distinct, and in condign more distinct, ceases to exist a beast.
At three:45 the scene cuts back to Dax, still listening exterior. He looks down again, peradventure a trivial ashamed of himself for the hasty accusations he made in his middle against those jeering inside. Man is dignified, though he often forgets this. The same upper brass who condemned innocent men to dice are not across the reach of the German girl's song.
Source: http://filmfisher.com/2015/05/inside-a-scene-the-end-of-kubricks-paths-of-glory/
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