A wild whirlwind of a mess, without any coherence, without even a guiding principle.
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.
Is this all Fuller got out of the war? He seems to believe it's all anybody really gets, that the vast patterns of war's meaning are really just the creations of novelists, filmmakers, generals, and politicians, and that for the guy under fire there is no pattern, just the desperately sincere desire to get out in one piece.
"The Big Red One" is Sam Fuller's first film in more than a decade, and by far the most expensive and ambitious film he's ever made. It's like a dream come true, the capstone of a long career. Fuller began as a newspaperman in New York, he fought in the war, he went to Hollywood and he directed a lot of B-action pictures that are considered by connoisseurs to be pulp landmarks: "I Shot Jesse James," "Pickup on South Street," "Hell and High Water," "Shock Corridor." His previous film, hardly seen in this country, was a 1972 West German production with the marvelous title "Dead Pigeon on Beethoven Street."
While this is an expensive epic, he hasn't fallen to the temptations of the epic form. He doesn't give us a lot of phony meaning, as if to justify the scope of the production. There aren't a lot of deep, significant speeches. In the ways that count, "The Big Red One" is still a B-movie -- hard-boiled, filled with action, held together by male camaraderie, directed with a lean economy of action. It's one of the most expensive B-pictures ever made, and I think that helps it fit the subject. "A" war movies are about War, but "B" war movies are about soldiers.
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