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Bud Corliss is an ambitious college student with big plans for himself and an heiress, Dorothy Kingship. But then Dorothy goes and gets herself pregnant. It’s his child, too, of course; but this ruins everything. Her moralistic father will disown her and will certainly never accept him. It seems he’s trapped. Bud’s mother knows something is troubling her son, but he won’t talk to her about it. All she knows is that Bud doesn’t want to turn out like his father, with holes in his shoes. He doesn’t have to worry. As his mother says, when he turns his mind to something, he does it. Unknown to her, his thoughts have turned to murder.

In Stanley Kubrick’s “Paths of Glory” war is viewed in terms of power. This mesmerizing, urgent film about a true episode in World War I combines the idea that class differences are more important than national differences with the cannon-fodder theory of war, the theory that soldiers are merely pawns in the hands of generals who play at war is if it were a game of chess. The result of this amazing film has been the emergence of one of the great talents in contemporary cinema, the master whose greatest work was yet to come.

Professional daredevil and white-suited hero, The Great Leslie, convinces turn-of-the-century auto makers that a race from New York to Paris (westward across America, the Bering Straight and Russia) will help to promote automobile sales. Leslie’s arch-rival, the mustached and black-attired Professor Fate vows to beat Leslie to the finish line in a car of Fate’s own invention. The Blake Edwards style of slapstick and song originated with this movie. A dedication to Laurel and Hardy appears at the beginning of the film. Edwards’ tribute to Stan and Ollie can be seen most clearly in the interaction between Professor Fate and his cohort Max, as well as in the operatic Pottsdorf pie fight.