talisencrw Recently in approaching the milestone of seeing my 5,000th film (at least by my IMDb list of my shoddy recollections), I wanted to make it a very special film, so it was between the blus of this and 'The Treasure of the Sierra Madre'. That was a very special work too, but in retrospect, I felt this was an even finer film. I haven't seen much of Vidor's work (only 'The Champ', 'Hallelujah' and 'The Fountainhead'--all of which I greatly admired), but I knew he was a great American director to be reckoned with, for any cinephile worth his salt. Plus, I had always been intrigued by the then-sex symbol status of ill-starred John Gilbert (especially since my favourite actress ever, Great Garbo, was so enraptured by him).This was remarkable. I was astounded by how Vidor (who said beforehand he wanted to finally make a film that wouldn't simply be gone from theatres in a week, but would play on for years, and that he would put forth a much greater effort if that could be the case, especially if either about steel, wheat or war) mixed elements, emotions and atmosphere so expertly. Even though it was a first-watch, since it was a silent film I thought it would be all right to throw on the Jeffrey Vance commentary, which contained four interview snippets from Vidor, late in his life in the 1970's. It was a wonderful cinephilic experience, and the book that enclosed the blu ray release was even more telling, with tons of pictures and essays about the American landmark of silent cinema.

grantss A gritty silent era war movie.Quite realistic for its time. Certainly doesn't glamorise war, unlike many other movies of that period would. I wouldn't go so far as to say it is an anti-war movie, but it certainly doesn't paint a glorious picture of war.Not all good: the movie drifted in the middle. The escapades of the soldiers while in the camp in France seemed quite silly and just delayed the inevitable battle scenes.The over-dramatic nature of silent movies also means this hasn't aged that well. The overly stereotypical characterisations of some of the soldiers, especially the hick building construction worker, was a bit over-the-top.At the time of its release, however, it was probably revolutionary, and highly regarded.

rickodonovan Having canvassed the majority of extant films from the silent era, I have a basis of comparison in evaluating this 1925 film in which one John Gilbert proved beyond any doubt that his dramatic capabilities extended beyond matinée idol and the "Great Lover" tag that he so abhorred up until his untimely death of consumption at 36. Gilbert was leading man for none other than Greta Garbo, Lillian Gish, and Mary Pickford- a feat no other actor could boast, and indicative of the span of his career. Here he is the spoiled rich kid who volunteers for infantry and combat duty. It was a theme that Oliver Stone would draw from his own experience decades later in writing Charlie Sheen's character in Platoon. Here he is torn between a fiancée back home and an absolutely endearing French girl played with unbelievable subtlety and naturalness by Renee Adoree. Gilbert and co-stars Adoree and Karl Dane all died tragic deaths within just a few years of this outstanding film. Gilbert essentially drank himself to death, Adoree died of tuberculosis in 1933, and Dane committed suicide when the talkie era 86d his illustrious silent film career. We have them all under the careful direction of the best director of all time King Vidor. To my knowledge, over his 60+ year career in Hollywood, Vidor made not a single flop, not one film that isn't critically acclaimed. Among his arsenal- The Crowd, Show People, Ben Hur, The Jack-knife Man, La Boheme. So here I go with my bold declaration.... The Big Parade is King's finest hour. It is cleverly paced, the editing is flawless, the acting is so natural you'd think you were watching real events as they unfold. The musical score by Carl Davis is the best he has ever conjured, and that's saying an awful lot. THE BIG PARADE. Yes. Get it, turn the lights out, clear the mind, and ready yourself for the film experience of a lifetime.

wes-connors Clean-shaven young John Gilbert (as James "Jim" Apperson) gets caught up in the patriotic fervor leading the peaceful United States into The Great War (aka World War I). In joining "The Big Parade" of enlisted men, Mr. Gilbert leaves behind his pretty sweetheart and wealthy lifestyle - and ships out for war-ravaged France. There, Gilbert bonds with two lower-class soldier buddies: spitting laborer Karl Dane (as "Slim" Jensen) and rotund bartender Tom O'Brien (as "Bull" O'Hara). Fortunately, France provides feminine distraction in the form of Renée Adorée (as Melisande). Gilbert takes Ms. Adorée for a walk, and falls in love… King Vidor's "The Big Parade" is one of the most beautifully produced and directed silent epics of the 1920s. Mr. Vidor gets the finest personnel at MGM - the studio certainly regarded, with the late 1925 release of this film and "Ben-Hur", as the best in the business. With these films, MGM had considerable evidence to back up boasting about having the Biggest Stars and the Biggest Pictures in the Business (for about two decades).The film is also a personal triumph for silent idol Gilbert, who was receiving, and handling, some of the best parts Hollywood had to offer. Gilbert shaved off his suave moustache, and really does seem like the ordinary (but wealthy) looking soldier called for by the script. Gilbert manages both the comedy and drama scenes extraordinarily well. The lengthy "comic" parts go on too long; and, this is the film's main weakness - but, the actors are not at fault. And, Gilbert's "wheel-barrel" scene is the most memorable comedy interlude. Contrastingly, the comic Dane excels in his most dramatic moment.There were no "Academy Awards" at the time - but, "The Big Parade" won "Best Picture" honors from "Photoplay", "Quigley Publications", and "The New York Times"; it was released too late in the year to overtake Chaplin's "The Gold Rush" at "Film Daily". Only Quigley offered a "Best Director" honor, which went to Vidor; in hindsight, Eisenstein's "Potemkin" would have to be considered better. And, Gilbert's "Jim" would have faced stiff "Best Actor" competition from Chaplin's "Tramp" (and Gilbert's own appearance in "The Merry Widow"). John Arnold's photography should also be noted, as well as always dependable Hobart Bosworth and Claire McDowell. Do watch "The Big Parade" until the ending. Even if you guess (or know) what will happen, it's beautifully done. This is because Vidor makes you think about Gilbert's American and French sweethearts, instead of the obvious… ********* The Big Parade (11/5/25) King Vidor ~ John Gilbert, Renée Adorée, Karl Dane, Tom O'Brien