All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The Big Red One
Only chance could have thrown them together. Now, nothing can pull them apart.
A veteran sergeant of the World War I leads a squad in World War II, always in the company of the survivor Pvt. Griff, the writer Pvt. Zab, the Sicilian Pvt. Vinci and Pvt. Johnson in Vichy French Africa, Sicily, D-Day at Omaha Beach, Belgium and France, ending in a concentration camp in Czechoslovakia where they face the true horror of war.
Suddenly realised I haven't written anything about Sam Fuller on here yet, and this probably isn't the best one to start with. It makes a slight move from the giant collective pieces on war from early Fuller and juggles both very personal stories of war with larger perspectives showing the entire squadron. He's certainly concerned with showing each individual victory and act of heroism though they always exist in the moment and that feeling is always short-lived or surrounded with such horrifying bluntness as Marvin calling each number on D-Day and the corresponding man having to go to his death. It's hardly as relentless as, say, Steel Helmet or China Gate which both exist within a space…
I know there's someone out there that watches this and sees glory and excitement, but I can't imagine what they must be like. Almost every soldier I've ever spoken to has mentioned how unrealistic war movies are, but that hardly means the movies don't adequately convey some sense of horror and pain. They present effective characters and we empathize with them, and even if what is shown is both less terrifying than the real thing and more condensed, deeply edited, completely limited as compared to the real thing, even if that is the case, it is none-the-less a depiction of nothing I can fathom wanting to be a part of.
This film (and note that I watched the 2.75 hour…
Sometimes there are films that can genuinely be described as a huge influence on a host of others in their genre. Star Wars influenced almost every science fiction movie after 1977 and Samuel Fuller's The Big Red One's influence can be seen in everything from Spielberg's Saving Private Ryan to the Band Of Brothers tv series.
Starring Lee Marvin and a post Star Wars Mark Hamill, this follows a group of soldiers from the legendary 1st Infantry Division during WWII. It shows the platoon at various stages of the war and covers their exploits in North Africa, Sicily, the D-Day landings, Belgium and finally Czechoslovakia. We see the deaths of comrades, the horrors of war, the bond that grows between…
So The Empire Strikes Back wasn't the only great film to co-star Mark Hamill in 1980. Talk about confronting your dark side. Fuller is adept at details and ideas without being heavy handed or abstractly poetic. Therefore, I found this superior to both Saving Private Ryan and The Thin Red Line. Lee Marvin is a master at the close-up reaction shot and totally believable as the commander who's fought to the bitter end of two world wars. David Ayer's recent Fury (which I liked) owes a great debt to this one. I watched the original cut, but greatly look forward to sitting down for the reconstructed version some day.
It's just one of your balls, Smitty. You can live without it. That's why they gave you two.
It's either an Epic War Drama disguised as a World War II Adventure B-Movie, or a World War II Adventure B-Movie disguised as an Epic War Drama. I'm not sure which. It certainly is an Epic however, but a Samuel Fuller Epic. No forced messages or sentimentality, just a story about war.
It's not a romanticized version of the war either despite it's "War Adventure Tone". The Sergeant and the four lucky Privates that seem to be the only survivors from skirmish to skirmish come to a point where they don't seem to give a shit about anyone else in…
Loosely based on a series of horrific anecdotes personally lived by director Samuel Fuller, The Big Red One is the director's personal feature that finally made him earn his first Palme d'Or nomination. He was asked to recall his experiences while serving as an infantry soldier in the European Theatre of the Second World War. Under these terms, it is no ordinay war feature. The narrative is intentionally disjointed into an episodic structure, like fractured memoirs of an upset soul trying to put the pieces together about violent accounts in the middle of inhuman circumstances.
Several users have agreed, and I join them: the film is misunderstood. The film can be fairly credited…
Fireflies as German tanks. Even at Kasserine pass, a year before they were even produced. Yea, why not just put zombies and aliens in too huh?
In honor of Veteran's Day, I decided to watch this war film, which is considered a classic - and it's considered a classic for good reason. The Big Red One follows the 1st infantry division, nicknamed the "Big Red One", as they are initially deployed all the way until the end of World War II. In real life, the director Sam Fuller was a member of this very same division in WWII, so it's highly likely a good portion of the movie is based on his real life experiences.
My first observation about the film is how it looks. For a movie shot in 1980, it's still very stunning to look at, which greatly aided by the locations Fuller shot…
Watched the 162 minute "Reconstruction" version from 2004.
Never before has a war film been so forth-putting and unabashedly sure at its own termite genius as Sam Fuller's The Big Red One. His biggest budgeted yarn is also his most personal, an alternately bonkers and hellish probing of war's effect on the individual soldier. The movie is an unfolding mosaic of true-life events and skirmishes that actually happened to its maverick writer-director-producer Samuel Fuller. It gleams with unpolished honesty, the type we don't get in most prestige war flicks (Platoon, Saving Private Ryan, Bridge on the River Kwai, to name the most popular examples) or even in the good war movies that actively set out to deglamorize the pomposity of…
This review reportedly contains spoilers. I can handle the truth.
Holy crap, there is a lot to like about this movie. The technique is deceptively simple. Pay attention to how Fuller uses close ups and zoom lenses to create a sense of a large scale war despite a small budget. The story balances between a serious war story and a schlock B-movie. My personal preferences tend toward exploitation. The birth scene for instance, one of my favorites. I love it when directors reveal they have a god damn sense of humor within these serious dramas. Lee Marvin screaming “Puss-ayyyy! Puss-ayyy!” will become a reoccurring Freudian nightmare for me from now on.
And the really fucked up thing about the whole movie is finding out that Sam Fuller actually went through…
Want to watch Sam Fuller tell war stories? Of course you do.
The Big Red One is based heavily on the director's own experiences in the 1st Infantry Division. As you can imagine from a veteran and master storyteller, every war movie theme under the sun is wrapped into this epic (this being the 163-minute restored version). The distaste for violence, the necessity of cruelty, the soul-crushing irony. They're all here, packed neatly into their own little episodes.
And whoa. Mark Hammill is amazing in this, as is Lee Marvin. Marvin carries the melancholy and the world weariness. Hammil carries the darkness. And he brings it big time.
It's confusing at times and the traditional trumpet score seems out of place, but the earnest writing and dialogue are to die for.
After "Saving Private Ryan", the D-Day landing midway through "The Big Red One" seems like it was filmed by a dopey 6th grader who'd borrowed Daddy's camera. But then again, what COULD compare to that masterful sequence from Spielberg - which also had the benefit of opening the film with that visceral, brutal scene - here in Red One the D-Day landing is a highlight, but it's also just another whistlestop on the squad's Euro/North African tour of killing (or murder). "Red One" is very dated, for sure, in its filming style, in its sedate pace, in its repetitive themes - its a 1980s film that in many many could have come from 20, 30, even 40 years before. That…
(This review is for the directors Cut) I have very mixed feelings on this war film.
This film succeeds in being a very true retelling of director Samuel Fuller's experiences of World War Two so I give it credit for that.
I also must say, the last 15 minutes of this film were amazing, I only wish the rest of the film could've managed to be just as effective.
The cinematography was decent, at times clever but there's a counter side to that, which is the action scenes were lazy. I don't know if I should really call them lazy, but they were very unrealistic at times and took me right out of the film.
Even with very little emotion…
Harvard Film Archive, Cambridge, Massachusetts
In World War I, Private Possum (Lee Marvin) kills a German solider and returns to headquarters, where he's told the war ended "about four hours ago."
Since the war was over, was it murder when he killed the German? Are the signatures of distant leaders on a piece of paper the only distinction between murder and justifiably killing someone as an act of war? Are the actions themselves morally different because of when they took place?
Twenty four years later, Sgt. Possum leads the Big Red One during World War II. When his squad crosses the field where he killed the German years earlier, they find a memorial.
Johnson: Would you look at how fast they put up the names…
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…