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Analysis of Erich Maria Remarque’s All Quiet on the Western Front

By NASRULLAH MAMBROL on October 8, 2022

All Quiet on the Western Front depicts the disillusionment of Paul Baumer, a young foot soldier fighting in World War I. Written by Erich Maria Remarque (1898–1970), this depiction of the horrors of war is one of the most renowned German works of the 20th century. Drawing on his own experience as a young man conscripted into military service for Germany, Remarque not only uses the character of Paul as his own mouthpiece but also makes his protagonist symbolic of the situation of all the soldiers who fought on either side of the western front. Stretching 440 miles from the Swiss border to the North Sea, the line of trenches and barbed wire fences moved little between 1914 and 1918, despite incessant attempts on both sides to break through. This infamous front became a symbol of the most futile and meaningless aspects of World War I.

Of particular importance in All Quiet on the Western Front is the novel’s style. The down-to-earth and unassuming narrative voice of Paul Baumer avoids anything in the way of high or polished rhetoric. The style is clean and reportorial, working deliberately against an idiom of heroic adventure or romantic patriotism. Although the young Paul is shown to possess a lyrical and sensitive side, nothing in his narrative is inflated or elevated; indeed, even his death is deliberately made to seem anticlimactic.

Erich Maria Remarque / New Statesman

The setting of this novel is also of utmost importance. The Western Front of the title is the name for the most important sequence of battlefields in the war. It was here that such modern weapons as poison gas, powerful explosives, and machine guns were first deployed, making the scale of injury and death catastrophic. In addition, individual soldiers were considered disposable in a military strategy of attrition; battles continued for months while corpses and casualties mounted. To Paul, who is thrown into this world with little preparation, the battles on the front are mad, meaningless, and frightening; when ordinary days with his comrades are interrupted by chaotic periods of battle, it is as if he has been plunged into a waking nightmare.

While most of the vivid narrative episodes take place on the front lines, a section of the book depicts Paul’s return to his home, which serves as a contrast to his horrific experience on the front lines. Paul’s books, his butterfly collection, and all personal mementoes of his previous life now seem part of a world he has left behind forever. While suffering deprivation, the people back home have no idea of the dimension and depth of the suffering on the battlefields of the western front. In fact, Paul feels that he must lie to his family and the others in the town because they would not be able to handle or understand the truth. This trip home consolidates Paul’s sense that he is part of a generational shift involving a dramatic break with the past.

A prominent demonstration of this alienation occurs when Corporal Himmelstoss, who had sadistically hazed the boys when they were undergoing basic training, is posted to the front. Instead of viewing him as a member of their unit, the comrades attack him at an opportune moment, beating him severely. The reader comes to understand that for the young soldiers, the war is against not only the enemy, but also against the elders of the former generation who are responsible for its carnage and for stealing the youth of the men who had to fi ght in it. These father figures, once assumed to be guides to the adult world, are now perceived as having no insight or wisdom—indeed as having betrayed the younger generation. Paul and his skeptical, mocking comrades see the authorities to whom they had previously deferred as impervious to the realities of loss and suffering they have caused. In addition, contrary to the official patriotic optimism of the higher-ranked soldiers, the younger comrades suspect that, in reality, their country will not emerge victorious at the end of the day.

With the exception of the resourceful Stanislaus Katczinsky, a fortyish man known as Kat, Paul and the other soldiers are all very young men who have gone straight from the schoolroom to the battlefield. As a result, a generation of young men comes of age in a crisis environment. For Paul and his generation, initiation into adulthood is unusually brutal and traumatic— even those who survive will be psychologically scarred for life. One incident that fills Paul with rage and remorse, for instance, is the way in which his former classmate Kemmerich receives a wound which, because it is poorly cared for by medical officials, turns fatal. By the time Kemmerich dies, however, both Paul and his fellow soldier Muller are more concerned about the fate of Kemmerich’s boots. This is a result of the failure on the part of the authorities to supply the troops with necessary clothing and equipment; it is also a sign of a general dehumanizing set of values in which the dying man’s boots become more important than the dying man himself.

Another traumatic episode concerns Paul’s killing of a French soldier, Gerard Duval. Horrified and conscience- stricken, Paul looks through the soldier’s personal belongings and realizes that this Duval, although not German, was not his enemy but a fellow victim of a war machine that destroyed their generation and its aspirations. Episodes such as this remind the reader that this is a universal story depicting not simply the German point of view but the experience of all of the young men on the battlefields of Europe at the time. Not long after this event, Paul falls in battle. The last survivor of the group of comrades we have been following throughout the novel, Paul is shot by random enemy fire on a quiet, ordinary day not long before the war officially ends. The cold impersonality and absurdity of Paul’s death is described in a very short paragraph which abruptly and shockingly concludes the novel, reinforcing the novel’s basic purpose: to foreground the individual victim of a conflict fought with advanced, lethal weapons for inexplicable reasons. At the same time, Paul’s death represents the experience of a generation of young men sacrificed to a senseless, devastating war that emphasized how an entire civilization teetered on the verge of self-destruction.

A literary sensation when first published, All Quiet on the Western Front has remained among the most read and most memorable of all antiwar novels. Banned in the 1930s by the Nazis, who subjected all Remarque’s work to public burnings, the novel has survived as one of the most indispensable literary documents of the 20th century.

Still from the motion picture All Quiet on the Western Front (1930), directed by Lewis Milestone and featuring Lew Ayres (left).

BIBLIOGRAPHY Barker, Christine R., and R. W. Last. Erich Maria Remarque. New York: Barnes & Noble, 1979. Firda, Richard Arthur. All Quiet on the Western Front: Literary Analysis and Cultural Context. New York: Twayne Publishing, 1993. Tims, Hilton. Erich Maria Remarque: The Last Romantic. New York: Carroll & Graf, 2003. Wagener, Hans. Understanding Erich Maria Remarque. Columbia: University of South Carolina Press, 1991.

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This film, directed by Edward Berger from a script he wrote with Lesley Paterson and Ian Stokell , is the first German-made version of Erich Maria Remarque ’s famed novel about World War I, written in German and published in 1928. The first film adaptation of the book, released in 1930, was American, directed by Lewis Milestone, and kind of a landmark of early American sound filmmaking. It was well received and considered so powerful that it was thought a potential deterrent to future war. That turned out to be erroneous. (And Remarque himself contended that he had not intended to write a pacifist testament so much as to plainly depict the agony of the young recruit at war.)

A second version, in 1979, directed by Delbert Mann (a “dreary” director, per Andrew Sarris) and starring Richard Thomas , then famous for his portrayal of saintly earnest John Boy Walton on “The Waltons,” didn’t have close to the same impact. Nor, I suspect, will this rendering (and I do mean “rendering” in more than one sense) of the story, which nonetheless is Germany's official film submission to the Academy Awards this year.

At two and a half hours, it’s as long as the 1930 version, but packed with quite a bit more plot. It jettisons the early scenes in the novel and film in which young German students are goaded by an ardent super-patriot professor into joining the military and saving the fatherland. Instead, this film sets its sights on the head-spinning carnage of warfare by showing how young enlistee Paul Bäumer ( Felix Kammerer ) gets his wrong-sized uniform: the clothing has been recycled off of a corpse.

Like “1917” before it, and like the better films that continue to inspire a concentratedly grisly mode of war picture (the epochal Russian film “ Come and See ” is explicitly referenced at least once, as is the more recent, and more problematic, “ The Painted Bird ”), “All Quiet on the Western Front" is state-of-the-art in shoving your nose in realistic-seeming carnage and possibly inducing hearing damage in laying on the ear-splitting aural experience of a fire-fight. The in-the-trenches tracking shots that Stanley Kubrick crafted for “ Paths of Glory ” (a movie that culminated in a point that actually made sense, unlike this muddle) are now steady hand-held digital panoramas of exposed viscera and agonized writhing. Filmmakers have arguably lost the plot, turning “War is hell” into a “Can you top this?” competition.

Within all the action, the narrative of young Bäumer making his way, learning what it is to kill, and trying to forge fellowship in his untenable situation plods along. Berger adds some material too. There’s a parallel storyline in which real-life German vice-chancellor Matthias Erzberger tries to broker a peace with the French and others. This is not present in Remarque’s book. So why’s it here? I reckon several reasons: first, to demonstrate that in the Great War, there really WERE some “good Germans,” which when you think about it is neither here nor there in this scheme, as the reader/viewer is meant to at least have some empathy for Paul, who is after all a German soldier. And the intransigence of some of the French delegates in these scenes will bring to mind the years-long humiliation Germany was subjected to by the Armistice agreement, which helped bring about the rise of Hitler. The Erzberger narrative is also intended, one supposes, to build suspense: will the Armistice go into effect before the worst can happen to the characters we’ve come to care about? (Presuming one has indeed come to care about them, which was not my own experience here.)

But this is not the only special pleading the director puts forth. Late in the film there’s a sequence when Paul and his older army friend Katczinsky ( Albrecht Schuch ) go to steal a goose (to eat, not to adopt as a pet or anything) from a French farm and run afoul of a dead-eyed French boy. I won’t “spoil” the sequence. But I will say that, apart from committing the cinematic sacrilege of using the same Bach choral prelude that Tarkovsky put in his “Solaris,” it is very invested in villainizing French farm boys. To which I can only ask, well, what were the Germans even doing in France at that time anyway?

Ultimately, I found this kind of whataboutism more amusing than disquieting. Maybe I’m just whistling in the dark. 

In select theaters today, on Netflix October 28th.

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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Film Credits

All Quiet on the Western Front (2022)

Rated R for strong bloody war violence and grisly images.

147 minutes

Felix Kammerer as Paul Bäumer

Albrecht Schuch as Stanislaus "Kat" Katczinsky

Aaron Hilmer as Albert Kropp

Edin Hasanović as Tjaden Stackfleet

Devid Striesow as General Friedrich

Daniel Brühl as Matthias Erzberger

Moritz Klaus as Frantz Müller

Sebastian Hülk as Major von Brixdorf

• Edward Berger

Writer (novel)

• Erich Maria Remarque
• Lesley Paterson
• Ian Stokell

Cinematographer

• James Friend
• Sven Budelmann
• Volker Bertelmann

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How They Shot ‘All Quiet on the Western Front’ Like an Immersive Horror Film

Bill desowitz.

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In “1917,” Sam Mendes depicted the experience of fighting in the trenches of World War I as a tour de force thriller. Viewing the conflict from the opposite side — and through the lens of a classic anti-war novel — Edward Berger’s acclaimed “ All Quiet on the Western Front ” brings to mind a different genre. The sheer scope of the unrelenting artillery attacks and massive carnage in Germany’s submission for the Best International Feature Oscar paint The Great War like an immersive horror film. Thanks to the brilliant work of cinematographer James Friend (“Willow” and “Star Wars: The Acolyte”), we’re right beside Paul (Felix Kammerer) in the harrowing days leading to the Armistice of Compiègne.

“We always associate horror to supernatural when it comes to cinema,” Friend told IndieWire. “But we actually had a foundation to build upon it with war. I think that’s really poignant and very truthful for our generation [in Europe] that hasn’t really lived through much war, except for what’s going on in [Ukraine].”

The key was shooting large format with an array of cameras for different purposes. The Alexa 65 was the primary camera on the battlefield following the action; the Alexa Mini LF snaked its way through the long and narrow trenches; the Sony Venice captured nighttime shots with flares; and the RED was the kamikaze camera for FX explosions that were comp’d into the background in post.

“The Alexa 65 is a beast image wise and physically,” Friend said, “but it records an extremely wide field of view. So when you’re doing a war picture, you need to bolster the image with that and put the cast and the audience through hell. Then we had to move the camera seamlessly through the trenches and for that we used the Alexa mini LF with stabilized gimbal (with the Stabileye) and with crane work. Also because of the smaller sensor, it worked better for action because of better pan speeds. We wanted to try and draw a documentary perception of the image.”

Shooting at night, meanwhile, proved quite the undertaking to look natural and unlit. “The Sony Venice gave us more flexibility with the image and opened up a lot faster,” Friend continued. “And we were quite adamant about shooting explosions on the battlefield, and the RED gave us great resolution with this lo-fi solution. We also buried the RED in the floor so we could run it over with a tank. But it was my camera.”

The film opens with a bravura attack, as the Alexa Mini LF moves through the muddy trench on a Steadicam; then the Technocrane lifts up and over, and the hectic German advance is now captured by the Alexa 65, with random bodies falling all around as a result of the French assault. Later, when Paul runs for his life, the Alexa 65 follows his fall into a mud crater, which symbolizes his lowest point and the total futility of the German cause. What’s noteworthy is the seamless transition from one large format camera to another.

The location of the trenches and battlefield was also vital. Production designer Christian Goldbeck found a former airport in the Czech Republic that proved ideal for size, distance, and topography at 650 meters long, especially with Friend shooting many shots without cutting. It was advantageous for the German perspective: The sun rose from the French side and set on the German side. They planned their shots, fully storyboarded, so they could shoot all through the day against the light.

The color palette helped convey the journey from winter to spring, beginning with a blueish hue to emphasize the frost in the beginning. “Then, as we follow the uniforms into the spring, we saw a slightly more hopeful, almost childlike section of the world, where everything is clean and beautiful,” added Friend, who embraced natural light that was often overcast and backlit.

“And there’s a beautiful shot of Kropp [Aaron Hilmer] when he sits against the gate of the farm at the end, and this wonderful snow came down,” the cinematographer added. “We retrofitted all the rest of the scenes from that [with fake snow] because we didn’t want to let that image go.” This seasonal approach ultimately provided an atmosphere for understanding what was going on in the soldiers’ minds and how they perceived the world.”

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• All Quiet on the Western Front

Erich Maria Remarque

• Literature Notes
• Essay Questions
• Book Summary
• About All Quiet on the Western Front
• Character List
• Summary and Analysis
• Character Analysis
• Paul Bäumer
• Himmelstoss
• Franz Kemmerich
• Albert Kropp
• Gérard Duval
• Character Map
• Erich Maria Remarque Biography
• Critical Essays
• Major Themes
• Rhetorical Devices
• A Note on World War I and Its Technology
• Full Glossary
• Practice Projects
• Cite this Literature Note

Study Help Essay Questions

1. Remarque's novel presents nature in many moods and for many purposes. Discuss Remarque's use of nature throughout the novel, using examples when possible.

2. This World War I novel is a story of powerful bonding among men. Using examples from the book, explain how Remarque develops his idea of comradeship in the face of battle.

3. Study the few places where women enter Remarque's novel. What role do they play in his book?

4. From the very title of the novel through the grim ending, Remarque uses irony. Using several examples from the myriad choices, explain his use of irony in the novel.

5. Discuss Remarque's extensive use of simile, particularly in comparing the battlefield with nature.

6. The progress of the war can be seen though the author's descriptions of the few comforts of the front. Paul and his friends are constantly occupied with the search for food, shelter, and the creature comforts. How can the reader follow the progress of the war through their search?

7. Was Paul's death at the end of the novel a blessing or a tragedy? Take a stand and defend your opinion based on the incidents of the novel.

8. Using specific examples from the novel, show how Remarque's descriptions of life at the front seem to reduce humans to animals.

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All Quiet on the Western Front

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Discussion Questions

According to the novel, poor people accounted for the bulk of the combat soldiers. Meanwhile, the ones who were advocating for the war to be fought were of higher socio-economic classes and by contrast saw very little front-line action. What larger significance does this hypocrisy have?

In what ways does this novel intersect with the writer Gertrude Stein’s “The Lost Generation”?

In your estimation, is this novel a work of literary modernism? If no, then what is your refutation? If yes, then in what ways does the novel fit the classification of modernism?

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Netflix’s New Film Strategy: More About the Audience, Less About Auteurs

Dan Lin, the streaming service’s new film chief, wants to produce a more varied slate of movies to better appeal to the array of interests among subscribers.

By Nicole Sperling

Reporting from Los Angeles

Back in, say, 2019, if a filmmaker signed a deal with Netflix, it meant that he or she would be well paid and receive complete creative freedom. Theatrical release? Not so much. Still, the paycheck and the latitude — and the potential to reach the streaming service’s huge subscriber base — helped compensate for the lack of hoopla that comes when a traditional studio opens a film in multiplexes around the world.

But those days are a thing of the past.

Dan Lin arrived as Netflix’s new film chief on April 1, and he has already started making changes. He laid off around 15 people in the creative film executive group, including one vice president and two directors. (Netflix’s entire film department is around 150 people.) He reorganized his film department by genre rather than budget level and has indicated that Netflix is no longer only the home of expensive action flicks featuring big movie stars, like “The Gray Man” with Ryan Gosling and Chris Evans or “Red Notice” with Ryan Reynolds, Gal Gadot and Dwayne Johnson.

Rather, Mr. Lin’s mandate is to improve the quality of the movies and produce a wider spectrum of films — at different budget levels — the better to appeal to the varied interests of Netflix’s 260 million subscribers. He will also be changing the formulas for how talent is paid, meaning no more enormous upfront deals.

In other words, Netflix’s age of austerity is well underway. The company declined to comment for this article.

Now that Netflix has emerged as the dominant streaming platform, it no longer has to pay top dollar to lure auteur filmmakers like Martin Scorsese, Alfonso Cuarón and Bradley Cooper. It also helps that some of the big studios are again allowing their films to be shown on Netflix not long after they appear in theaters, providing more content to attract subscribers. The latest list of the 10 most-watched English-language films on the service featured six produced outside Netflix.

Mr. Lin’s predecessor as Netflix’s film chief, Scott Stuber, took the job in 2017, when the company had no track record as a place for original movies. To succeed, Mr. Stuber, who had once been the vice chairman of production at Universal Pictures, spent lavishly on talent, promising filmmakers near-complete creative freedom and hefty budgets. It worked — to an extent. The directors got to make their passion projects, and their films earned Oscar nominations (though few wins.)

In 2021, the streamer hit its apex of production, declaring that it would release a new movie a week.

Mr. Stuber, an affable friend to talent, pushed to get Netflix to embrace the idea of wide theatrical releases. And it was a big coup when he landed the sequels to the box office hit “Knives Out,” in a $465 million deal, which some thought could nod toward a change in direction. It never came to be.

Under Mr. Lin, who once ran production at Warner Bros. and produced such hits as “Aladdin” for Disney and the “It” and “Lego” movie franchises, the aim is to make Netflix’s movies better, cheaper and less frequent. Mr. Lin, who declined to comment for this article, also wants his team to become more aggressive producers — developing their own material rather than waiting for projects from producers and agents to come to them, according to two people familiar with his thinking, who spoke on the condition of anonymity to discuss internal communications. This approach, the thinking goes, should help them have more say over the quality of the films.

Netflix was reconsidering its pay structure before Mr. Lin’s arrival. Since the company began sharing performance metrics last year, there have been discussions about basing pay for filmmakers and actors on a film’s performance, similar to how the traditional studios reward them when movies perform well at the box office.

Yet a more economical approach to budgets, along with Netflix’s continued aversion to releasing films in theaters, has some producers and agents in Hollywood griping that the streaming service is no longer a top choice when trying to find a distributor for their films.

Several high-profile filmmakers who made movies for Netflix moved on for their next projects. After making “The Irishman” for Netflix, Mr. Scorsese jumped to AppleTV+ for “Killers of the Flower Moon.” Maggie Gyllenhaal is making “The Bride” at Warner Bros. after directing her first film, 2021’s “The Lost Daughter,” for the streamer. And Scott Cooper, who directed “The Pale Blue Eye” for Netflix in 2022, is taking his highly anticipated Bruce Springsteen biopic, starring Jeremy Allen White, to 20th Century. (New films by the Netflix loyalists Guillermo del Toro and Noah Baumbach are both in production for the service.)

Netflix recently declined to bid on the rights to a short story that Millie Bobby Brown, a star of Netflix’s “Stranger Things” and the “Enola Holmes” films, was attached to, two people familiar with the matter said. It is also no longer moving forward with a film by Kathryn Bigelow based on David Koepp’s apocalyptic novel “Aurora”; the director left the project a few months ago.

Edward Berger — who directed “All Quiet on the Western Front,” which won four Oscars, for Netflix — has been complaining that the service is demanding budget cuts on a film he’s trying to put together with Colin Farrell, according to three people with knowledge of the deal, who spoke on the condition of anonymity because of the delicate situation.

A spokesperson for Mr. Berger declined to comment.

Shortly after Mr. Stuber left the company, Bela Bajaria, Netflix’s chief content officer, gathered members of the film staff in a conference room and told them that the quality of their movies needed to improve, according to three people with knowledge of the meeting, who spoke on the condition of anonymity to describe internal communications. She also indicated that if they weren’t comfortable with moving in a different direction, they might want to consider leaving the company.

One thing that does not appear to be changing anytime soon is Netflix’s strategy regarding theatrical release, a bone of contention with some filmmakers and stars — not to mention theater owners.

“The data from the pandemic is clear that movies released only to streaming don’t get the awareness and pop of a movie that was first released theatrically,” said John Fithian, the former president and chief executive of the National Association of Theatre Owners and founding partner of the Fithian Group, which advises clients on ways to support the cinema experience. “Almost all of the most-watched movies on streaming services are movies that were first released theatrically.”

Yet many in the creative community are rooting for Mr. Lin. With the business consolidating, they are desperate for Netflix to continue buying movies. The hope is that with a renewed focus, Netflix may greenlight movies that the studios would say no to, and provide a home for more romantic comedies and midbudget character studies in Hollywood’s shifting landscape.

An earlier version of this article misstated John Fithian’s former job titles at the National Association of Theatre Owners. He was the president and chief executive, not chairman.

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Nicole Sperling covers Hollywood and the streaming industry. She has been a reporter for more than two decades. More about Nicole Sperling

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A Lost Generation in "All Quiet in The Western Front"

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