It’s exciting to see Shyamalan on such confident footing once more, all these years later.
Some of them happened to Fuller himself, he tells us, and there's a kid in the movie who's obviously supposed to be young Sam. Other scenes are based on things Fuller heard about. Some of them are brutal and painful, some of them are romantic, a lot of them are corny. The movie takes no position on any of them: This movie is resolutely nonpolitical, is neither pro- nor anti-war, is deliberately just a record of five dogfaces who found themselves in the middle of the action.
The movie's title refers to the U.S. Army's First Infantry Division, and the action follows one rifle squad through the entire war. The squad leader is a hard-bitten sergeant, played by Lee Marvin with the kind of gravel-voiced, squint-eyed authority he had more than a decade before in "The Dirty Dozen." His four squad members are kids in their teens, and his job is to whip them into shape. He does. The squad is so efficient, or competent, or just plain lucky, that it survives to see action in half the major theaters of the war in Europe. At a rough count, they fight in North Africa, Tunis, Sicily, Normandy, Omaha Beach, rural France, Belgium, Czechoslovakia, and Germany. Halfway through this litany, we begin to suspect that "The Big Red One" is supposed to be something more than plausible.
The squad fights in so many places, stays together in one piece for so long, experiences so many of the key events of World War II (from the invasion of Europe to the liberation of the Nazi death camps) that of course these characters are meant to be symbols of all the infantrymen in all the battles. But Fuller, who fought in the First Division, seems determined to keep his symbols from illustrating a message. They fight. They are frightened. Men kill, other men are killed. What matters is if you're still alive. "I don't cry because that guy over there got hit," Fuller said in an interview, "I cry because I'm gonna get hit next."
This leads to a deliberately anecdotal structure for the film. One battle ends, another begins. A little orphan kid appears out of the smoke, is befriended, braids flowers into the netting of a helmet, is forgotten for the rest of the film. What we have is a series of experiences so overwhelming that the characters can't find sense or pattern in them, and so simply try to survive them through craft and experience.