Director G.W. Pabst uses sound well in this, his first sound film. There's the noise of continual bombardment, which adds to the visual realism. Moreover, sound serves continuity. Whistling continues from one scene to another in one transition; in another, the music of a band playing at a canteen turns into the drumbeat for marching soldiers. Also endearing of this antiwar statement is that it is not exciting, unlike other supposedly dovish pictures that end up romanticizing battle. There's the screaming Frenchman between trenches. An artillery firing line is too short, hitting patriot trenches. A return home on leave has a soldier discovering that his wife trades sex to get by.
The framing, editing and visual quality are adept, as one would expect from Pabst, if not from an early sound film. I especially liked the framing and fluidity of the staircase goodbye. There's a surveying moving camera, as there is in "All Quiet on the Western Front". The long battle sequence at the end is the climax of the salient film-making. There is a very long take from an unmoving position, as if the camera were a hidden soldier observing; it is unexciting, yet my attention was not discouraged.
The framing, editing and visual quality are adept, as one would expect from Pabst, if not from an early sound film. I especially liked the framing and fluidity of the staircase goodbye. There's a surveying moving camera, as there is in "All Quiet on the Western Front". The long battle sequence at the end is the climax of the salient film-making. There is a very long take from an unmoving position, as if the camera were a hidden soldier observing; it is unexciting, yet my attention was not discouraged.