Sadly, director Edward Berger misses the true point in his version of one of the greatest anti-war novels of all time.
Sadly, director Edward Berger misses the true point, depth, and greatness of Remarque's novel entirely, choosing instead to focus primarily on horrific battlefield scenes and shattered bodies.
“Now he is lying there — and for what reason? Everybody in the whole world ought to be made to walk past his bed and be told: “This is Franz Kemmerich: he is nineteen and a half, and he doesn’t want to die! Don’t let him die!” is intended as a walk past Kemmerich’s bed.whose importance was diminished by being only superficially mentioned in Berger’s film was the tragic confrontation between Paul Baumer and the enemy soldier who sought refuge in the bomb crater in which Paul was hiding.
“When I see them here, in their rooms, in their offices, about their occupations, I feel an irresistible attraction in it, I would like to be here too and forget the war; but also it repels me, it is so narrow . . . while out at the front the splinters are whining over the shell-holes and star-shells go up, the wounded are carried back on waterproof sheets and comrades crouch in the trenches. They are different men here, men I cannot properly understand, whom I envy and despise.
"This book is to be neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped shells, were destroyed by war."
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