Film Review: The Big Parade (1925)

First World War was the event that played the most important role in shaping Hollywood into hegemon of global cinema. Conflict that ravaged the Old Continent has left European cinema industries in ruins, allowing American film studios to pick up the pieces. American film makers were quite aware of the importance of the Great War and the effect it had not only on them, but also on their fellow countrymen who had taken part in it. So, it wasn’t coincidence that The Big Parade, 1925 war drama directed by King Vidor, one of the most ambitious films of 1920s Hollywood and its biggest box office hit during silent era, took that subject.

The plot begins in 1917 when we are introduced to James Apperson (played by John Gilbert), son of wealthy industrialist (played by Hobart Bosworth), who disappoints his father with his carefree idle lifestyle, so different from his hard-working nerdish brother Harry (played by Robert Oper). When United States declares war on Germany James’ fiancee Justyn Reed (played by Claire Adams) suggests that he enlists in US Army, which he impulsively does so, much to the horror of his mother (played by Claire McDowell). James is assigned to 42nd “Rainbow” Division where he befriends two recruits from lower classes – former Brooklyn bartender Bull (played by Tom O’Brien) and construction worker Slim (played by Karl Dane). They are shipped to France and, before arriving to front, spend time in small village of Champillon where they catch attention of local girl Melisande (played by Renée Adorée). Three men begin to compete for her affections before James wins, despite not knowing the language and despite Melisande becoming aware of James’ fiancee back home. Their bliss is quickly interrupted with the orders to move to the front where James and his friends would experience bloody baptism of fire.

Although Hollywood a century ago, just like today, makes most of the profit on escapist fantasies, The Big Parade is a film that looks very realistic and serious for its time. The authenticity shouldn’t be surprising, because Great War was still fresh in people’s memory and Laurence Stallings, author of the screen story, was veteran himself and, just like the protagonist of the film, has lost a leg during Battle of Belleau Wood, which is reconstructed in the film. His experiences inspired 1924 semi-autobiographical novel Plumes and stage play What Price Glory? which caught attention of producer Irving Thalberg, one of the early Hollywood moguls who wanted Metro-Goldwyn-Meyer to produce more ambitious and grander films. Direction was given to King Vidor, who, following shorter test version, later had it expanded into epic version of two and half hour, with large budget and assistance of US Army which provided entire division of soldiers, with numerous horses, vehicles and pieces of equipment and even tens of biplanes.

The result of Vidor’s effort is film that is epic and ordinary at the same time. It starts like a relatively standard melodrama only to turn into comedy during the first part, when cultural and class conflicts between characters provide plenty of cheap jokes. One of them even includes male nudity, a detail that would become inconceivable in more prudish Hollywood of early sound era. This segment, however, would test audience’s patience, because it simply lasts too long. Fine acting, however, makes things more bearable. John Gilbert, one of the greatest screen idols of silent Hollywood, has shaved off his iconic moustache in order to make his character look young and naive; this effort is accompanied by a very good and realistic performance. French actress Renée Adorée is very convincing as his love interest, namely because she lacks glamour of more vampish screen goddesses and could much better pass as country girl. Dependable character actors Tom O’Brien and Karl Dane are also good as protagonist’s friends.

However, in the last hour film changes completely from light comedy into serious war drama. Slow character development pays off when we are suddenly seeing protagonists and his friends being exposed to the carnage. Vidor displays brilliant directing skills in scene when rows of inexperienced American soldiers advance through the woods while being picked by hidden German snipers or ambushed by machine gun nests. It is often cited as one of the most memorable works of Hollywood. Than the action switches to trenches and shell craters in no-man’s land during night combat, which is good opportunity for John Arnold to show his skills as cinematographer. It is also the segment with the biggest emotional impact during which protagonist loses his friends, his sanity and his leg. It is also opportunity for Vidor to express sentiments towards war that were very different from actual wartime years and chauvinistic hysteria. Intertitles provide ironic commentary on suddenly discovered enthusiasm for war while the film, while having actual violence and carnage not too graphic, doesn’t shy away from showing psychological effects of combat – the way it turns ordinary people into murderers or madmen, with protagonist struggling to rediscover his humanity and, later, becoming disappointed after returning home and realising that the world moved on while piece of him remained on the battlefield. Melodramatic and obligatory happy ending will do little to undermine film’s clear anti-war stance, quite in line with popular 1920s sentiments which wanted the Great War to be the last world war.

Those sentiments helped the film at the box office and turned it into undisputed classic. The Big Parade, however, from today’s perspective might not look that special, namely because it provided inspiration for so many film makers throughout the century. One of notable example occurred only five years later with Lewis Milestone as his early sound classic All Quiet on the Western Front, which features scenes and motives clearly inspired by Vidor’s work. Despite perceived lack of originality and despite being silent (although some of that was dealt by brilliant score by Carl Davis added during 1980s restoration) The Big Parade deserves its high reputation and can be recommended even to viewers not too interested in cinema history.

RATING: 7/10 (+++)

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