Three ideas come to mind: two strangers communicating through body language and hand gestures, circumventing social and linguistic boundaries (the great ideal of the universal cinematic language); those same individuals swept up or engulfed by the crowd, standing against the tide; the battalion advancing through the forest with fear in their eyes, walking over fallen comrades, marching deeper and deeper into warfare.
Dúos en bellísimas fiestas de gestos y expresiones, como en un juego, una comedia de la expresión. Sensualidad amorosa de la primera parte. Luego el espacio cinematográfico es una cuestión de distancias, planos horizontales y generales que fabrican una geografía de la guerra, una experiencia de ella, alejada y vivida por una gran multitud.
This is a beautiful epic that is a little corny at times but one thing that can't be disputed is King Vidor's incredible directing talent. Pre-dating All Quiet on the Western Front, the battle sequences are impressive and exhilarating and the emotions of this film are very powerful. Renee Adoree is an absolute delight here as well.
The Big Parade is an archetypal war film; it shaped the entire genre and if it's cliched then that's because it started those cliches. Its influence includes everything from Best Years of Our Lives to The Deer Hunter. Although the ending must be nothing but a comforting illusion to all who must have experienced great loss in war, the finale is well earned for the audience. Sometimes the people need a hopeful message.
Una escena memorable en "El gran desfile". Los soldados se acercan en busca de trincheras y caminan por debajo de árboles que parecen remecer y cobijar al enemigo. Una escena en donde el suspenso empunta. Vidor es un maestro del cine comercial; evoca el romance, (melo)drama, la acción, compone un montaje impresionante que sabe distinto al montaje digitalizado.
I can't stand American military films and manic depressive atmosphere no longer. Two scenes are great (boot and German soldier). Rest is stereotype which is still in use. additionally, mustacheless John Gilbert looks like Boardwalk Empire's Lucky Luciano (Vincent Piazza).
A brilliant masterpiece, this is one of the greatest war movies of all time, that proved its director to be a strong heir to Griffith's editing innovations. Vidor's themes are also very similar to Griffith's: basically, the Americana, or, in other words, a constant portrayal of the american society, history, politics and way of life. King Vidor, Griffith and John Ford are the definite american classic film-makers.
The second half of this King Vidor MGM spectacular features arguably the most realistic WWI battles scenes of all time, leaving the first half, which is quite playful and romantic, a distant memory. The quick, moving finale, with John Gilbert and Renee Adoree, is that much more hard earned for the brutal action scenes prior.