The Big Parade (1925) User Reviews (73)

a gorgeous, harrowing story of heaven and hell

[Quinoa1984 · 9/10 · 6 April 2016]

I could try and pick apart some things with King Vidor's The Big Parade - the fact that the resolution is a little hackneyed (not a little, actually, more than a lot being a "classic Hollywood Ending" as you'd hear in the cliché terms), or that the romance that blossoms between the American nice guy Jim (John Gilbert) and the French farm girl Melisande (Renee Adore) is all predicated on the fact that they both find each other charming visa-vi not knowing the other's language at all. Some of these things keep it from being in the 'All Time Super-Great Silent Films', and yet when it's wonderful and moving and spectacular and brutal it's all of those things times a hundred. It's both a tender romance and a earth-shattering and horrible story of World War 1 (were there any others that were compelling, I mean that as a compliment by the way, not the 'bad' horrible in terms of quality of the art).

Vidor knew how to get in Big Parade not even so much the greatness in the full scope of the story - if you're looking close enough there's some problems - but in all of the little moments and things that you remember, which are all done with truth to whatever the main feeling is, and it's shot and communicated in a way that's sophisticated for the time. Hours after seeing the movie (and I'm sure this will also be days and weeks later) I'll remember how Jim sort of first piques Melisande's attention by being stuck inside of a giant barrel and walking around in the mud unsure where to go; or when the cake that's sent to Jim is split by him in three parts, the others going to his new friends Slim and Bull and he getting the smallest piece (both of them from other, working class backgrounds, unlike Jim who is more upper-middle class, so to speak, meant to bridge the gap and show war makes everyone equal in the eyes of combat); that moment when the guys are walking in the woods and people behind them just start falling down, one by one, via sniper fire before the bigger strike happens; when Jim and Melisande use the little translation book to try and express their feelings of love and happiness to one another, which is charming in an unironic way.

So many scenes and things are choreographed to such a fine point that I want to love the movie even more than I do: there's a sequence where you get Jim and all the other soldiers, who have been sort of hanging out in this French village without any combat, called in to head to the frontlines finally, and as Melisande tries so desperately to find her love (as he is too), and that moment where they connect and can barely let go, that couldn't be done today. I'm sure most directors would look at a sequence such as that, which goes on for about 6 or 7 minutes (and this includes when the two lovers finally connect and can barely be pulled apart as she chases after his military truck driving away) that seems so earnest that it might look corny. You have to commit to that level of high emotional resonance, but Vidor does and the actors do, and if you happen to be watching the version with Carl Davis's musical score, which verges on the sentimental and even brings up military march music at times, you can't help but go for it 100%.

The Big Parade is a long movie, but not really too long, and when it flows from setting up our primary characters and then moves into the war scenarios it's natural and compelling. And there's some great conflict for Jim with his romance due to the lady-back-at-home (which is part of why later on the final five minutes is just OK instead of great, though not without some impactful images and grandeur). And all in all, Vidor and MGM succeed at making a war movie that is not exciting in such a way that it makes war look glorious. On the contrary this seems more like the first part of a double bill with All Quiet on the Western Front (I'd be curious if that ever actually happened in a theater), and by having us spend a lot of time with Jim and his friends, the latter of which get into some shenanigans and do some tomfoolery and all that which is genuinely funny (i.e. a scene in a wine cellar and a frustrated mail scene are the highlights), it makes what they go through all the richer and experience.

It's a kind of pure story of heaven and hell found in humanity, and if anything its imperfections make it more endearing than many other films slick surfaces.

An Early Epic War Story

[gavin6942 · 7/10 · 28 March 2016]

A young American soldier (John Gilbert) witnesses the horrors of the Great War.

The film was groundbreaking for not glorifying the war or ignoring its human costs, exemplified by the lead character's loss of a leg from battle wounds. It heavily influenced a great many subsequent war films, especially "All Quiet on the Western Front" (1930).

What really stands out is the new score from Carl Davis. While the film itself is powerful (and has held up very well over the past century), Davis has made it even more engaging and triumphant with his music. I have not heard the old score and cannot compare, but surely it never had the power it does now.

If there had been Oscars in 1925 this would have taken home quite a few trophies

[AlsExGal · 9/10 · 17 April 2016]

John Gilbert (a favorite of mine) is so funny, tragic, and REAL in this film. I really felt for his character (Jimmy). The first night he's away from his comfortable home, I could see the loneliness and longing in his face. The battle scenes were extraordinary - the musical score really captured the chaos and destruction of war. The scenes with the fireworks and explosions with all those men dying were breathtaking and heart wrenching. My favorite scene is when Gilbert is hitting on the French girl by the creek and he keeps stroking his finger up and down her arm and trying to kiss her. He's so nonchalant about it as if it came naturally and was improvised. I found myself smiling and softly laughing at the tender scene. That's really fine acting when a performer can make a small scene stand out like that. To me it is more memorable than the highly dramatic scene when Jimmy is out on the battlefield screaming that the Germans have killed his friend and sets out to kill the enemy - still a wonderfully acted scene, but the former just help to enforce my opinion of Gilbert as one of the finest actors ever to grace the silver screen.

One scene that tugs at my heart is when Jimmy returns home and sees his mother for the first time on crutches, minus his leg. Didn't you get tense too, as the young doughboys make the march through that field with all the snipers in the trees? I also like the scene where he gives gum to Renee Adoree and she's never chewed it before. Very cute! She was another who couldn't survive the transition to sound, not because of her voice, but because of tuberculosis with which she was diagnosed in 1930. She didn't follow doctor's orders and died of the disease in 1933.

Highly recommended. It's one of the only silent films that Warner Brothers has bothered to press rather than burn to DVD in the post-DVD era, and I am grateful for that.

The Superb John Gilbert

[drednm · 3 November 2007]

One of the great films of all time. John Gilbert stars as a callow lad from a wealthy family who joins up at the start of World War I. The film follows him through his early days in the army, his days in rural France, and then his time at the front, and finally his return home.

King Vidor directs this amazing film, one of the best war films ever made, with touches of humor and irony, but never losing sight of the horrors and stupidity of war.

John Gilbert would have won the Oscar for 1925 if the awards had started then. He's simply superb as Jack. You watch his eyes as this films goes on. In the beginning his eyes twinkle with glee and delight as he makes friends, finds love, and grows into manhood. Then his eyes change and go dead as he experiences war. This is one of the great silent film performances.

But the film also boasts great work from Renee Adoree as Melisande and Karl Dane as the Swede. Co-stars are Tom O'Brien as Bull, Hobart Bosworth and Claire McDowell as the parents.

The TCM copy I have has a incredible score by Carl Davis. There is one scene when Gilbert is off to the front and he can't find Adoree. The music is a discordant mishmash of previously heard tunes, and the music grows louder and louder until they find each other. The scene that follows is heartbreaking and unforgettable.

But this film is full of great scenes, including the one where Gilbert teaches Adoree to chew gum. So simple yet so charming. Then there's the shower scene where Gilbert has gotten a wine barrel (hilarious) so the guys can have a shower.

There is a great title card that reads simple: IT HAD BEGUN..... So few words and yet so full of meaning. The battle images are among the best and bring the full horror of war home. Vidor assembles amazing scenes of men marching in line to death, of men trapped in shell holes, of planes swooping over the bombed-out fields. This is an incredible movie.

TCM host Robert Osborne mentions that THE BIG PARADE played for an astounding 95 consecutive weeks in New York and that it rivalled THE BIRTH OF A NATION and GONE WITH THE WIND as the biggest money-making film of all time. This is the film that, along with THE MERRY WIDOW, made John Gilbert the king of Hollywood in 1925. And his crown was well deserved; he is magnificent.

Outstanding Silent Film

[mr composer · 10/10 · 18 September 2001]

This is one of the best silent movies ever made, and probably the best WWI movie ever made, silent or sound. It's one of the greatest movies I have seen to show how war can turn one man's world upside down, yet not necessarily in a completely negative way as have other films. The direction is superb. The acting is wonderful. In particular, Renee Adoree's character is adorable as the French heroine. In one of the movie's most romantic scenes (and a much parodied one), Renee's character anxiously finds Gilbert, who is in the process of moving on to battle. When they unite, the two almost can't be seperated, even as the cars are moving. It's one of the most emotional scenes ever.

Then there are the battle scenes, which are stellar. The character development is wonderful, as lazy, rich boy Jim joins the war only to please his friends and fiancee. Then, he finds out what war is all about, as well as true love. "Slim" makes a nice comedic supporting character, who again is finally seen in a different light in the face of battle.

One thing I should note, is that the version of this film I saw is the one scored by Carl Davis. I also heard his score for "the Lodger" and thought it was distracting if anything. But this score is an example of the perfect silent score. It actually shows the maximum "potential" of the film. It's always appropriate, is molded to every scene, takes advantage of a modern orchestra while still preserving several stylistic nuances of older films. Kudos to Mr. Davis for a fine score.

Finally, why wasn't there room for this on AFI's 100 list? It's certainly better than "the Jazz Singer" or "Easy Rider", and probably a ton of others on the list. Part of the problem, I realize is that so few people have seen this. There's only about 150 votes so far on this site. This masterpiece should be seen at least once by any serious film lover. A perfect 10!

As each 'Big Parade' passes, it becomes increasingly more hollow

[kijii · 10/10 · 27 November 2016]

This movie traces three men from the same American town. The men are from different social and economic backgrounds. Jim (John Gilbert) is the rich son of a mill owner, 'Bull' (Tom O'Brian) is a bartender, and Slim (Darl Dane) is a riveter in construction work. When America joins the Great War in Europe all three enlist. As usual in movies of this type, there is a patriotic fervor in the town at the time that they join up. Jim's girl, Justyn (Claire Adams), is one of the first to assume that Jim will enlist and make her proud. This is the first use of the term, 'The Big Parade' on the movie's title cards—the big parade of patriotic people sending boys off to war. For the first 75 minutes of the movie, we get to really KNOW these three lovable and fun-loving guys, long before they actually go into any battle situations in Europe.

While in a French village waiting for a battle, Jim meets a villager, Melisande (Renee Adoree). The movie spends time with Jim and Melisande as they try to communicate with each other in two different languages and have lots of fun and laughs together. When Jim and his buddies are actually called into action, Jim promises Melisande that he will be back. The long convoys of trucks and marching soldiers advancing into battle is the second use of 'The Big Parade' on the movie's title cards.

The battle scenes are very well done showing bombing, large guns, mustard gas, aerial attacks, and hand-to hand combat. Much of the time, the three soldiers are in trenches or in bomb holes. When the commander orders one of them to clean out an enemy stronghold, the question is which one will be 'IT.' Slim sets up a spitting contest to determine which of the three will go. Slim easily wins--which means that he will go. When he doesn't return, his two friends become very anxious about him. Slim dies.

Bull later dies in another assault. Jim gets hurt in the leg and is sent to an army hospital in another 'Big Parade' sequence. While in the hospital, he finds out that it is near the village where he left Melisande. In a search of her, he only finds a deserted house in the bombed out village. He is again wounded and sent home. Of course, his homecoming is another 'Big Parade.' However, after the term is used several times on the movie's title cards, it becomes increasingly more hollow and sarcastic.

After seeing this movie and Vidor's The Crowd (1928), I am convinced that he was one of the really great SILENT directors! His movies stress beautiful images and bustling action rather than broad acting gestures. They are both playful and sad; the are replete with a realism that conveys genuine emotion.

As one watches these movies, they don't seem contrived; they seem to be about REAL PEOPLE living real lives. Vidor's magic seems to be in the WAY he captures people and events without the use of sound. At least in these two movies, he is not afraid to let the story unfold naturally. These movies seem as fresh today as they were when they were first released.

Classic silent film

[preppy-3 · 10/10 · 4 June 2004]

Movie takes place during WWI in 1917. Jim Apperson (John Gilbert) is an idle son of a rich man. He enlists in the Army when WWI begins leaving behind a loving girlfriend. He becomes buddies with Slim (Karl Dane) and Bull (Tom O'Brien). They go to France where he falls in love with Melisande (Renee Adoree). But then he has to go off to combat. Will he survive and come back to her? And how about his girlfriend back home?

The plot is somewhat predictable (I knew how it was going to end halfway through) but this is still a GREAT film! The first half deals with Jim, Slim and Bull in a small town in France where they meet Melisande. It's chock full of some very unfunny humor and juvenile antics between the soldiers--but the romance between Jim and Melisande really works. There's some truly beautiful moments with them--especially a nighttime scene by a lake. And the sequence where he says goodbye to her is truly touching.

The second half deals with Jim and his buddies in combat. The war footage is strong and (for 1925) pretty graphic. It shows the pain and agony of war quite graphically--but Gilbert's little speech in the foxhole is a bit much (and Gilbert overdoes it). It all does lead up to a happy ending which I liked...but didn't buy for a minute.

This is all helped along by a beautiful music score done in 1988. It really helps the move tremendously. The direction by King Vidor was astonishing--the battle sequences are exciting (and harrowing) and the romantic scenes work equally well. Gilbert is pretty good in the lead--it's easy to see why he was such a big star. Adoree is just gorgeous and makes a very beautiful heroine. Dane is just VERY annoying as Slim. He overacts constantly and he's the (un)funny comic relief--but he does turn noble at the end. O'Brien is pretty good also.

This was a HUGE hit in its day...but is completely forgotten today. That's too bad--it's truly a great film. A must see!

A Blockbuster Classic from the Silent Era

[gbheron · 10/10 · 10 June 2003]

King Vidor's "The Big Parade" is the biggest blockbuster from the silent era, and, I am told, the movie gold standard to which all others were compared well into the 1930s. ("The Big Parade" was released in 1925).

The story focuses on three American doughboys, fighting in Europe during WWI. Two are working class; a tobacco spitting riveter, Slim, a barkeep, Bull, and a ne'er-do-well son of wealth, Jim, who was shamed into enlisting by his family. These three go through the hardships of military training together, bond, and become fast friends. Their friendships deepen after they are shipped to France where Jim falls in love with a French farm girl. This comprises the first half of the 2 ½ hour movie. The second half of the movie is the gritty reality of trench warfare.

Some say that this is one of the first big-budget anti-war movies. I don't quite agree. The movie shows the human cost of war without condemning it outright. Remember that WWI was 'the war to end all wars', and in 1925 this was still a possibility. But "The Big Parade" does take an unflinching look at the affect of war on both combatants and non-combatants.

The performances and direction are excellent and silent or not, this is a movie well worth seeing.

Great war scenes marred by poor build-up

[gbill-74877 · 6/10 · 3 March 2018]

I found it tough to rate this film, because the strength of its WWI action footage is offset by a weak build-up and silly romance. The film is commendable in showing us the horrors of war in a dramatic hellscape, but at 151 minutes, it's far too long, and would have been better if the 90 minute build-up had been edited down.

It's to great fanfare that a rich young American (John Gilbert) enlists, and it is nice that the film (eventually) contrasts this tone of those scenes to the reality of war, since this is precisely the disillusionment the world went through. He befriends a couple of blue collar guys (Karl Dane and Tom O'Brien), and oddly enough, there's very little concept of military command early on. The men go to France, get settled into a village, and after inexplicably shoveling a manure pile the first night, they're free to carouse about and hit on the local women, one of whom is Renee Adoree. The film moves at a snail's pace, with drawn out scenes and gags that aren't funny, culminating in a highly melodramatic goodbye scene with Adoree when the men are finally called up to the front.

Here is where the film gets interesting, though it's not until the 105 minute point before we see anything that resembles authenticity. At first our heroes are walking calmly through a forest while snipers shoot at them, advancing despite soldiers falling until they reach a tree line, at which point the Germans simply raise their hands in surrender. Good grief.

Eventually they reach pockmarked, barren fields, and after facing explosions and chemical weapons, hunker down. The film's silly tone is finally broken when one of them is hit, and another screams out into the night "I came to fight - not to wait and rot in a lousy hole while they murder my pal! Waiting! Orders! Mud! Blood! Stinking stiffs! What the hell do we get out of this war anyway!" before crawling out and trying to save him. Upon finding him dead, he screams "They got him! They got him! GOD DAMN THEIR SOULS!" and then charges a machine gun nest. It's meant to have high emotional impact, and at least it's action, but it seems a little ridiculous.

It does get better still though, and I have to give the film credit for showing the devastating impact of war. The cinematography is awe-inspiring and frightening. Men advance like ghostly zombies through smoke, gunfire, and explosions, emerging through haze in darkened scenes splashed with pyrotechnics. There is a touching scene with an enemy soldier in a pothole, impressive as it predates 'All Quiet on the Western Front'. The human empathy and feeling that we're all brothers resonates all the more, having come just moments after a murderous rage.

The aftermath is also good. I loved the brief scene in the hospital, the shots of the French abandoning bombed out buildings, and later the family reunion. As mother and son embrace, director King Vidor overlays a powerful montage of maternal memories of the boy through the years, my favorite sequence.

The last 45 minutes has gravitas, fantastic scenes, and a real message, and is easily 4 out of 5 stars. However, I can't overlook the first 105 minutes, and it's unlikely I would want to watch the film again because of them.

The First Great WW1 Film!

[bsmith5552 · 9/10 · 2 December 2014]

Anybody that doubted John Gilbert's acting talents needs to watch this classic silent film from Director King Vidor.

Gilbert plays James (why do I have to work) Apperson, a poor little rich boy the son of wealthy parents (Hobart Bosworth, Claire McDowell). His industrious brother Harry (Robert Ober) is following in his father's footsteps as a hard working manager in their father's business. James' girlfriend Justyn (Claire Adams) encourages James to enlist in the army when WW1 is declared.

More or less shamed into enlisting he joins up with his two buddies Bull (Tom O'Brien) a bartender, and Slim (Karl Dane) a construction worker who are shipped off to France. At first the boys are not sent into combat. They spend their idle time among the locals and James meets and falls in love with local girl Melisante (Renee Adoree).

Finally the boys are sent off into combat and there is a heart wrenching scene between James and Melisande as he leaves for the fighting. When the scene shifts to the battlefield we are treated to some of the best battle scenes ever filmed. There is the slow march through a forest amid sniper's bullets and later battlefield sequences without equal. The boys move from enthusiastic enlistees to the brutal reality of war including experiencing some tragic consequences.

It is in these scenes that we see Gilbert's acting talent come to the fore. Especially memorable is his scene in a fox hole with a dying German soldier. Gilbert moves effortlessly from a spoiled rich kid, to a fun loving inexperienced soldier, to a battle hardened veteran. It seems a shame that Gilbert's career started to spiral downward only a few short years later.

Keep the Kleenex handy for the closing scenes.

The Reality of War

[CJBx7 · 9/10 · 21 April 2014]

THE BIG PARADE (1925) is set in the United States in 1917. It tells the story of Jim Apperson (John Gilbert), an idle young rich man who enlists to fight in World War I. He finds friendship and love during his time in France, but is soon plunged into the chaos and horror of war. Directed by King Vidor.

SCRIPT: THE BIG PARADE is often acclaimed as the first Hollywood movie to realistically portray war. This is very accurate. The lead character, Jim, is reluctant to enlist but does so due to peer pressure and finding himself caught up in the patriotic fervor of the moment. Along the way, his character is changed forever by what he experiences. On my first viewing, I did feel that it took a while to get to the war…but the first hour of the movie really lays the groundwork for the great changes to come. Jim finds friendship and romance along the way, and we get to see him bond with the characters (even though he did seem to rather conveniently and inexplicably forget about his fiancée back home – that part could have been handled better IMHO.) The movie shows abundant humor, warmth, and humanity. This causes the shift to the war to have more dramatic impact. THE BIG PARADE does not glamorize war, but shows it for what it really is – a brutal and senseless waste of life. However, even then it has time for humor, and shows realistic character development. We see the toll the war takes on Jim, but the film does end on a hopeful note. SCORE: 9/10

ACTING: John Gilbert became a star after this movie, and it's easy to see why. His performance still holds up very well today – understated, realistic, and yet very charismatic. He displays a great emotional range that never seems exaggerated. Renee Adoree contributes a moving performance as his love Melisande – she conveys the character's strong will, and the depth of her love for Jim as he is taken away is very evident in this pivotal scene. The rapport between her and Gilbert is very good. Tom O'Brien contributes good support as Jim's buddy Bull. I wasn't a big fan of Karl Dane's performance as the tobacco-chewing hayseed Slim; it seemed a little broad to me, but just a little, not nearly as overdone as, say, the characters in DW Griffith's WAY DOWN EAST. Karl Dane gets to display more depth and determination during the war scenes. Claire McDowell is excellent as Jim's mother, and the relationship between her and Gilbert is moving and believable. Quite well done overall. SCORE: 9/10

CINEMATOGRAPHY/PRODUCTION: King Vidor showed his considerable directorial talent with this film. The cinematography and editing are nothing less than first rate. There are quite a few powerful sequences here – Melisande pursuing Jim as he is taken to the front; the soldiers' doomed march into the forest, with tracking shots and polished editing; the climactic battle at night…Vidor shows a great command of his use of light and shadow during the battle scene. You really do feel the impact of the battle. The editing is smoothly done throughout, and this movie helped set the standard for war movies to follow. SCORE: 10/10

SUMMARY: THE BIG PARADE is a pivotal moment in cinema, for daring to show the reality of war, rather than an idealized or propagandistic point of view. It has warmth, humor, and camaraderie, as well as a realistic viewpoint of war's horror and senselessness. The performances, cinematography, and production are first rate. Though there are minor flaws, the movie as a whole stands as a masterpiece. SCORE: 9/10

Great, up to a point

[marcslope · 7/10 · 1 June 2009]

King Vidor's World War I drama, from a story by WWI vet and distinguished playwright Laurence Stallings, was made for only $250,000 and looks like a zillion, with huge battle sequences, an enormous cast, and expressive art direction. The extended battle is great, capturing the terrifying immediacy of war nearly as well as "All Quiet on the Western Front" (but the latter must be counted as the greater achievement, what with hauling all that primitive sound equipment around the set). John Gilbert is quite good here, with expressive but not overemoting eyes, and Renee Adoree is a spirited, pretty love interest. But Stallings--who wrote another terrific WWI story, "What Price Glory"--makes some simple mistakes that wouldn't have been difficult to repair. When we first meet Gilbert, he's a spoiled rich boy, uninterested in defending his country ("I already have enough of a war on my hands with Dad," goes a title card). He enlists solely to impress his uninteresting girlfriend. Then, in France, he forgets her instantly and falls in love with Adoree, despite his lack of French and her lack of English. I'm always annoyed at simple lust being passed off as The Real Thing in movies. Then, having created a love triangle, Stallings introduces a third-act resolution I won't spoil here, but is a mighty contrived way of clearing the path so that Gilbert can have his true love at fadeout. His two war buddies, The Regular Guy (Tom O'Brien) and The Lovable Gap-Toothed Idiot (Karl Dane), are so straitjacketed by their simple personas that they quickly wear out their welcome, and the comedy among these three brothers in battle (oddly, they practically never seem to interact with anyone else in their unit) is feeble. This was the most successful silent film to come out of Hollywood, and plenty of it is impressive, but it's encumbered by elementary screen writing mistakes.

War Movie or Romance?

[bthomps · 3/10 · 29 June 2000]

Although the beginning suggests All Quiet on the Western Front, this silly and superficial version of war falls far astray of its much better contemporary. This depicts the funnest war ever fought, with the first hour and a half devoted to romance and good times.

When we finally see some battle, it is lame: An enemy plane flies over? Shoot it down (in one shot). Sniper in the tree? Kill him before he gets a shot off. Enemy soldiers in the woods? Not to worry, they gladly surrender. Ho-hum.

Tepid, turgid, predictable...

One of the Finest Movies of Its Own or Any Other Era

[Snow Leopard · 18 October 2004]

A fine silent classic that has held up very well, "The Big Parade" is one of the very best films of its era and of its genre. It has a nice blend of drama, action, and lighter moments, with plenty of good photography and settings. The characters are simple, believable, and unpretentious, and they are brought to life well by the cast. Its commentary on the war is to the point, yet in a thoughtful way, without the heavy-handed cinematic ranting that mars so many films about war.

The early scenes work very well in introducing some of the characters and themes. Its portrayal of the USA's entry into the war is intelligently done, while holding nothing back in its perspective. By not assigning blame or responsibility to any specific persons or countries, it enhances its portrayal of the kind of mentality that so often prevails in such situations. It is a believable, and sometimes subtle, sequence that works quite well.

Once the movie gets into the main story, it uses the "parade" imagery well, and combines it effectively with the personal development of the characters.

John Gilbert and Renée Adorée work quite well together, and Gilbert's army pals are both used effectively. There are quite a few memorable scenes as it depicts a full variety of wartime experiences. The lighter sequences are used particularly well, not as raucous humor but as moments of the more sensitive side of human nature that is still there somewhere amidst all of the turmoil.

There's much more that could be said about such an absorbing film, but watching the movie is more rewarding than reading about it. It's neither an action-heavy war film nor a superficial, easily understood movie contrived to prove a particular point; it's something much better that fully repays careful attention and appreciation.

King Vidor's Epic On WW1 Defines war movies

[springfieldrental · 9/10 · 12 February 2022]

Director King Vidor always yearned to make a movie that played more than just one week in the theaters. The fashion at the time was to show a movie for a handful of days and then immediately return the reels to the distributor for another movie. His desire to create an epic on the recent Great War (World War One), just seven years removed, was enthusiastically endorsed by MGM head of production, Irving Thalberg. The studio contracted writer Laurence Stallings, a Marine veteran, to compose a story adhering to Vidor's vision. Stallings had fought in the Battle of Belleau Wood and was wounded in the leg, which was eventually amputated. Emerging from Stallings' typewriter was the screenplay for November 1925's "The Big Parade." Not only did the motion picture play longer than one week in theaters (a New York City movie house, Astor Theater, projected the film for almost two straight years, pulling in over $1.5 million), but the MGM film became its most lucrative production until 1939's "Gone With The Wind." In fact, besides D. W. Griffith's "The Birth of a Nation," "The Big Parade" is the highest grossing silent movie.

"The Big Parade's" primary attraction is its combat scenes. The anti-war film was the first in cinema to look at the war through the prism of the common GI. It follows three privates as they undergo training, travel to the front, and fight in the trenches. One of them, James (John Gilbert), falls in love with a local French woman, Melisande (Renee Adoree).

The movie is labeled as an anti-war movie for a variety of reasons. James enlists in the Army in 1917 because of the jingoistic atmosphere permeating the members of his community, especially his father and his girlfriend. The graphic carnage of the war is seen by viewers as the battle tactics of both armies show the barbaric methods involved in the face of modern armaments. Vidor has his soldiers march shoulder to shoulder in straight lines in front of blazing German machine guns. At war's end, when James returns home, he finds his old girlfriend has fallen for his brother. His parents, meanwhile, greet him proudly embracing him, but the two understandably fail to fully comprehend the horrors he had experienced in France.

Today's viewers may miss the ear piercing sounds of battle which would otherwise emphasize the extreme chaos of war. Astor Theater employed an 18-member orchestra to play martial music while small wagons filled with iron spikes clanging together were pushed backstage to reproduce the sounds of battle. In fact, on the set during the filming of the battle scenes in the woods, Vidor had a base drum banging to synchronize the men's cadence marching towards the German lines.

What's most ironic about "The Big Parade" is the four main actors all died an early death. Gilbert was stricken by a fatal heart attack at 38 from years of heavy drinking early in 1936. His on screen French sweetheart, Adoree, passed away from tuberculosis in 1933 at the age of 35. Karl Dane, the lanky soldier who volunteered to attack the German machine gun nest, died in utter poverty as one of many actors who failed to make the transition to sound, committing suicide in 1934 at 47. And Tom O'Brien, as Corporal Bull O'Hara, was the longest-lived of the four, dying at 56.

"The Big Parade" ushered in a series of World War One movies during the late 1920's, one winning the Academy Awards first Best Picture (1927's "Wings"). The film was the first realistic war drama in cinema, and inspired a number of scenes in other motions pictures reminiscent of Vidor's battle set pieces. The two enemy soldiers finding themselves in the same shell hole where they share a cigarette is replicated in 1930's "All Quiet on the Western Front." "The Big Parade" contains the first swear words in a dialogue inter-title ("G.. D... their souls," says Gilbert) and was one of 400 movies nominated for American Film Institute's 100 America's Greatest Love Stories motion picture. "The Big Parade" is included in the "1001 Movies You Must See Before You Die' reference book.

A great silent classic

[MR 17 · 9/10 · 16 November 1999]

Even though I have already heard a great deal about this film, I was surprised to see the strength of the movie. It holds up very well, and it´s not very dated, except for some short comic scenes where John Gilbert is with his friends.

There are several great and memorable moments, especially the one in which Gilbert and Reneé Adoreé are separated and the end of the movie, which is still very powerfull. An almost perfect film.

Exceptional

[planktonrules · 10/10 · 4 July 2009]

I noticed that some reviews referred to this as the greatest war film ever or the greatest silent or the greatest silent. Well, while this is very debatable. You could easily argue that WINGS (1927), ALL QUIET ON THE WESTERN FRONT (1930) or WESTFRONT 1918 (1930) were all possibly better WWI films--but doing so does all the films a disservice. After all, can't they all be great films and who says any one of these (or another) is the greatest? And, each is amazing in its own way. Plus, how can you compare a silent to a sound film? And what about films about other wars? And what about non-war silent films?

While I could see some flaws in THE BIG PARADE, you can't really compare it to films made later (technically they were so different and the style of storytelling changed a lot over the years). This film earns a 10 relative to other films of the day--other films made about 1925 aren't any better. The film has many pluses--large and rather realistic battles that are very emotionally draining, good acting by the lead (John Gilbert's performance was relatively subdued and very effective) and the story was very touching--such as when the hero's mother sees him towards the end of the film. Sure, there are a few minuses (the love between Gilbert and Renée Adorée seemed too shallow and brief to be so strong) but they are so outweighed by the strengths that they seem petty to dwell on in this review.

Compelling and very watchable over 80 years later--this is one of the great silents.

Powerful

[frankwiener · 8/10 · 20 July 2017]

"You'll look gorgeous in an officer's uniform. I'll love you even more then." Justyn Reed (Claire Adams) to Jim Apperson (John Gilbert)

For me, this is one of the most significant lines in this very, very "big" movie. Contrast these silly and superficial words against Justyn's disgusted reaction to the sight of a seriously disabled Jim when he returns from the war. This contrast from the beginning to the end of the movie summarizes its very serious and somber message about the unrealistic glorification of war as it compares with the very real experience of those who are called upon to do the actual fighting. As Jim endures the horrors of battle, Justyn doesn't even wait for his return before she takes a passionate interest in his own, nerdy brother, of all people.

More than any other silent director, King Vidor's exceptional work in both this picture and "The Crowd" succeeded to awaken my appreciation to the very special beauty and value of the silent film. I can't say that all silent films are of this caliber, but, after so many years and so many technological advances in the movie business, they both steadfastly maintain their viewing appeal and their relevance to our lives.

The battle scenes rank among the most impressive portrayals of combat that I have witnessed on film and are the successful results of painstaking efforts not only by director Vidor but of the uncredited MGM production manager, Irving Thalberg. While they are not as graphic as such modern films as "Saving Private Ryan", they nevertheless strongly convey the nearly impossible challenges of serving on the front lines of physical conflict. Beyond these striking battle scenes, so far ahead of their time, I was very moved by the scene of Jim with his parents, played by Claire McDowell and Hobart Bosworth. I don't believe that this scene would have been as potent without the outstanding directing ability of Vidor. Also, the image of Mrs. Apperson standing at the front door as her son departs for war in a faraway land depicts the pain and torment of all mothers in this dreaded predicament as well as any that I have ever seen, and it will linger in my mind for a very long time.

Although the first 75 minutes could have been shortened, I believe that the director wanted to develop the human characters of the three central soldiers as fully as he possibly could, and the result is that the viewer even more strongly empathizes with them and their excruciating circumstances on the battlefield. The growth and transition of Jim Apperson's character during the course of the film is a remarkable achievement by both Vidor, the director, and Gilbert, the actor. The performance of Renee Adoree as Melisande is delightful, and I regret that her film career was so tragically cut short as the result of her fatal illness at age 35. While some reviewers disliked Karl Dane's performance as Slim, I found him to be a very likable personification of Disney's Goofy who is suddenly placed in the midst of a major war, facing it with admirable, almost inhuman, bravery and fearlessness. Slim, even as a humanized Goofy, is the one you want with you in a foxhole. He is man's fearless, loyal, and best friend.

The 1988 musical score of Carl Davis contributes significantly to the emotional impact, successfully communicating what spoken dialogue obviously cannot achieve in a silent movie. This is one silent movie that will hopefully enhance an appreciation for this very important era of film-making in other viewers as it did for me.

Dissapointing

[Kieran_Kenney · 6/10 · 25 August 2003]

I didn't really see how great this movie was. I love silent film, and

I'm pretty familiar with King Vidor's work (The Crowd is one of my

favorite movies) so understandably, I was looking forward very

much to see this. When I finally did, though, I just wasn't

impressed. John Gilbert and Rene Adore both gave very good

performances, but the story didn't make my care about either of

them, or any of the other characters, that much. Set in 1917 but

filmed in 1925, neither Vidor nor anybody else in connection with

the project seems to have made any effort to reconstruct the period

it is set in. Everything, the clothes and the cars, are current with

the year it was made in. Granted, this happens a lot in movies, but

a film like Wings made up for these sorts of anachronisms. That's

not my biggest complaint, but I think I'm justified in saying that. All

in all, it was a decent effort, but could have been better.

A SALUTE TO JOHN GILBERT AND KING VIDOR

[tcchelsey · 10/10 · 28 May 2022]

If you are old enough, you may remember long before cable tv, silent movies being re-born on PBS. After all, we only had about five or six channels back in the day! What an education it was, and still is, to watch early film making at its most spectacular. You have to credit PBS for airing these golden oldies, and what may have inspired future historians to call for their preservation. The film with a message. THE BIG PARADE is the greatest one of them all, certainly "the" war film that opened the door to contemporary battle epics, both pro and con. John Gilbert, in what may be his greatest role, stars as a twenty-something American soldier who goes to war --and may never come back. The silent screen actress, beautiful Renee Adoree, is also in a one of a kind role which she is so remembered for. Romance, drama, comedy and tragedy all rolled into one epic film thanks to the mastery of King Vidor. In later years, Vidor taught classes on film making and appeared on PBS to discuss his pioneering days in Hollywood. Interviews never to be forgotten. Vidor also served as producer. Always being re-issued on dvd and now blu ray. Recommended.

Interesting early war picture

[Marcyph3r · 7/10 · 10 March 2020]

It is very interesting to see a movie depicting world war I so close to the historical event, and 5 years before All Quiet on the Western Front. While perhaps not as impressive (or quite as critical) as that masterpiece, it is a very interesting movie from historical perspective. It does not glamorize the war, far from it in certain scenes.

The melodramatic romantic drama is not bad either, I actually really enjoyed Renée Adorée's performance in this. I have not seen her in other movies, but she was very convincing and certainly caught my eye.

Powerful parade

[TheLittleSongbird · 9/10 · 15 January 2020]

There are a lot of great silent films that surprisingly for so long ago do not show their age and aren't as creaky. Am not saying anything negative about silent films in general, or trying to generalise if it comes over that way, quite the contrary (appreciate them hugely actually, though some don't hold up as well as others). There are also a lot of great WW1 films that still hold up in emotional power and are of vast historical significance, a strong primary example being 'All Quiet on the Western Front'.

Whether 'The Big Parade' is the best WW1 film there is very up for debate when there are many contenders for that title. For me though, it is definitely up there with the best (certainly of the "anti-war" ones) and still stands as a beautiful and powerful film that surprisingly pulls no punches and doesn't play safe. Wholly deserving of its lauded status, and for anybody that loves silents, war films and classic film (the case with me on all counts) in general 'The Big Parade' is a must watch.

It does start a little slow and some of the humour, especially that from Karl Dane, is overdone.

Everything else is on the money and obliterate any faults. It's beautifully and atmospherically shot, the editing flowing smoothly. Regarding the music, both William Axt and Carl Davis' scores are well worth listening to. With a personal preference for the truly haunting one of Davis. King Vidor's direction is masterful, some of his best. He clearly connected with the subject and does so in a very artistic and human way, the drama hitting hard and not being over-idealised.

Slow start aside, 'The Big Parade' is one powerful emotional wallop of a film. The love story is truly beautiful and the comradeship is similarly poignantly handled and where one particularly cares for the characters and what happens to them. The battle sequences were an achievement back then and are still astonishing now, having a full sense of horror in a pull-no-punches way. As others have said, the parting of the lovers is unforgettable and truly touching. Don't know many that are this moving actually.

Pretty much all the acting is excellent, apart from some over-doing at times with Dane. Especially understated John Gilbert, whose eyes tell so much. Renee Adoree is lovely too, but acting-wise this is Gilbert's film.

All in all, truly fabulous. 9/10

A good war flick, but somewhat dated (and not accurate).

[cannae · 7/10 · 15 August 2000]

For a 73 year old movie this holds up rather well. Seems like many of the scenes showed up in later movies. The battle scenes were good, but not historical. WWI was basically trench warfare and not battles with snipers in trees. (That's more like WWII in the Pacific.) There were some good shots on No Man's Land, but again, everyone seemed to be fighting out of shell holes.Some of the scenes seem trite, but again, consider the times. Not a classic, but still a very ambitious undertaking considering the state of the film art in 1927. Some of the special effects (like the artillery barrages) were awesome. Definitely worth a look.

Boring

[mrdonleone · 4/10 · 3 June 2020]

Jesus Christ, one of the worst movies I've ever seen. Totally boring and it's just a few scenes that keep the picture from collapsing into infinity.