No Greater Glory

Frank Borzage's films puzzle me in many respects. I can't figure out how he manages to move us but he does. I've seen all the often-quoted films - "Three Comrades", "Mortal Storm", "Man's Castle", "Seventh Heaven" - on more than one occasion and yet each time I am truly moved.

I first caught "No Greater Glory" at the Cinematheque in Paris with a friend when we were studying film. The audience was actually moved to tears! We're talking here about a French audience, a foreign language film not particularly well dubbed on film, an era never experienced by the young audience present at the time and performances by child actors unknown for the most part. Yes, the context in the film was European as were the names and places but the situation was Depression-era America, let there be no doubt about that, as were the actors and production staff. I'm still amazed why and how it worked its magic.

The young actors are never "cute", the lines in the film are more adult than child-like, the performances quite adequate but with no pulling-out-all-the-stops Academy Award-winning emoting. In short, it doesn't "feel" like a manipulative movie in any traditional sense of the word, yet we are manipulated by Borzage's hatred of war in general and his remarkable compassion and sincerity in translating his feelings onto the screen. This film is an absolute must!

Curtis Stotlar

This is a bizarre and very heavy-handed film. Instead of showing adults at war, this film does war on a small scale--with children playing war. This isn't just kids playing war, but they have ranks, follow orders and act much like adults would in war. And, almost the entire film consists of kids acting--with only a few adults here and there. This strange idea seemed to impress most of the reviewers but I couldn't get into it--mostly because it all seemed rather fake and I also thought that children playing war and acting as if it's all lots of fun just seemed a bit grotesque. Although I know it was meant as an allegory about war and heroism and the futility of war--it seemed like it could also be taken as a pro-war film as well! As for the kids, all but Frankie Darro were unknowns and the acting, for kids, was pretty good. But it was also sappy from start to finish--and also made war seem pretty cool--like a recruitment film for the next war.

I guess I am a voice of dissent, but I didn't like the film--though I did at least respect the acting (for the most part) and give it a 4 simply for technical merit. Also, I nominate George P. Breakston for a special award for Best Performance By a Crazy Kid for his acting at the 61 minute mark. It has to be seen to be believed. Further, I nominate all the parents for the Most Irresponsible Parenting award for encouraging their little ragamuffins to become little warmongers.

This forgotten little family / children's film is about bigger adult issues. This sweet film is about acceptance of those who are different. It uses so much symbolism and so many metaphors it seems is seems like the whole cast is on a soap box. But it's worth it. During the heart of the Great Depression with a pending war in Europe these issues needed to be raised by those who would be fighting for them just ten years later. Two rival gangs of school boys are at war over the same vacant lot as the only place left for them to play. The writer and director focus on the world as the boys see it and so the audience is brought inside the walls of the fort and the earnest issues of homeland, friendship, loyalty and tolerance. An almost too sweet story unfolds and we get to know these youngsters and are touched by their views. I recommend this film and thank Cinesation, the annual Silent & Early Film Festival held in Michigan each fall for playing it on the big screen!

What makes NO GREAT GLORY atypical for Borzage is that there is no central romantic couple, but this film, a stirring and vivid anti-war drama from the perspective of children (based on Molnar's THE BOYS OF PAUL STREET, which has been filmed on several other occasions), remains one of Borzage's most powerful, and shows the great range of his talent. Using a large cast of children, he is able to get some of the finest performances from many of the child actors, most of whom were Hollywood veterans by this point: George Breakston, Frankie Darro, etc. Yet here, with Borzage's patient guidance, they give fresh and touching performances. Borzage is always able to find great humanity in his performers, and the sorrowful story becomes truly tragic, because Borzage truly engages your emotions and your mind. This is another movie that is not available, and should be made available (and should be shown as often as possible).

No Greater Glory (1934)

*** (out of 4)

A rather strange anti-war film that tells the story of two rival kid gangs who are planning to go to war in order to fight over a vacant playground that both sides want. Jimmy Butler plays Boka, a small child who is the only Private in his gang, because he's so small, yet he's the only one will to risk his neck for the greater good of the gang. I've heard people call this a Our Gang Goes to War film and perhaps that isn't too far off base but in the end this is a film I respected a lot more than enjoyed. I'm sure many, many people are going to watch this film and love it but I wouldn't go that far. I think the message is loud and clear but to me it's way too loud and clear. This is the second film I've seen from Borzage's career during this period, the other being Young America, and there's no doubt he wants to get his views across but I think in both films he goes a little overboard. The most impressive thing about this film are the child performances, which range from very good to downright excellent. I was very impressed with the young Butler not only because of his acting but because of his small structure and his ability to rise up and battle. It was a little sad and ironic when I read that he would die in WW2 fighting for his country. George P. Breakston, Jackie Searl and Frankie Darro also add nice work with future Dick Tracy Ralph Morgan having a small role. Another major plus was the cinematography, which looked extremely well and so focused that you couldn't help but feel as if you were there during all the action. The ending, which goes for emotions, certainly gets them and remains one of the most powerful scenes from this era.