events and often generically blended. Lewis Milestone's All Quiet on the Western Front (1930) was unquestionably powerful, and an early anti-war film, portraying a German point of view; it was the first film (in any genre) to win two Oscars, best picture and best director. Andrew Kelly, analysing All Quiet on the Western Front, defined the genre as showing: the brutality of war; the amount of human suffering; the betrayal of men's trust by incompetent officers. War and anti-war films often prove difficult to categorize as they contain many generic ambiguities. While many anti-war films criticize war directly through depictions of grisly combat in past wars, some films such as Penn's Alice's Restaurant criticized war obliquely by poking fun at such things as the draft board. The number of anti-war films produced in America dipped sharply during the 1950s because of McCarthyism and the Hollywood blacklist. The end of the blacklist and the introduction of the MPAA rating system marked a time of resurgence for films of all type including anti-war films in the States. Robert Eberwein names two films as anti-war classics. The first is Jean Renoir's prisoner of war masterpiece La Grande Illusion (The Grand Illusion, 1937). Renoir's critique of contemporary politics and ideology celebrates the universal humanity that transcends national and racial boundaries and radical nationalism, suggesting that mankind's common experiences should prevail above political division, and its extension: war. The second is Stanley Kubrick's Paths of Glory (1957). The critic David Ehrenstein writes that Paths of Glory established Kubrick as the "leading commercial filmmaker of his generation" and a world-class talent. Ehrenstein describes the film as an "outwardly cool/inwardly passionate protest drama about a disastrous French army maneuver and the court-martial held in its wake", contrasting it with the "classic" All Quiet on the Western Front'''s story of an innocent "unstrung by the horrors of war". Mixed genres Comedy gave scope for satire, and post-war film-makers merged comedy and anti-war sentiment in films as varied as Stalag 17 (1953) and Dr Strangelove (1964). Black comedies like Mike Nichols's Catch-22 (1970), based on Joseph Heller's satirical novel about the Second World War, and Robert Altman's MASH (1970), set in Korea, reflected the attitudes of an increasingly sceptical public during the Vietnam War. Other genres were combined in Franklin J. Schaffner's Patton (1970), about real life General George S. Patton, where combat scenes were interleaved with commentary about