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| “A
muscular masterpiece... 24 years after its initial, botched release, and almost 60 years after V-E day, "The Big Red One" is finally here, in a form close to what Fuller intended. It's better late than never, and better than just about anything else to hit screens this year.” – A. O. Scott, New York Times. Click here to read entire review |
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(1980) “The
real glory of war is surviving.” Time
ticks away on Omaha Beach on a dead man’s wrist; horsemen battle
a tank in a Roman amphitheatre; an inmate enthusiastically joins in a firefight
in an insane asylum, shouting “I’m sane!”; a German artillery
spotter perches behind the arms of a giant crucifix; two men have a final
confrontation within a concentration camp oven. Grizzled Sarge Lee Marvin
(an actual Purple-Hearted veteran of the Pacific) leads his 1st Infantry
Division squad (their shoulder patch: a big red number One) from the landings
in North Africa, to D-Day, to an extermination camp in Czechoslovakia,
with platoon members Mark Hamill (post-Luke Skywalker), Bobby Di Cicco,
Kelly Ward, and Fuller alter ego Robert Carradine carrying on while nameless
replacements bite the dust. Samuel Fuller’s semi-autobiographical
chronicle was a decades-long dream that was false-started in 1959 when
he nixed a big-budget version with John Wayne, fearing it would degenerate
into a typical Wayne flag-waver. Then, green-lighted again in 1980, it
suffered budget shrinkage and massive cutting over Fuller’s objections.
While the original release was a box office and critical success, the “director’s
cut” gradually became one of the legendary films maudits of the American
cinema, ranking, in the words of critic/documentarist Richard Schickel,
who spearheaded the current restoration, “right up there with the
44 missing minutes of The Magnificent Ambersons as a dream quest.” Now,
after the discovery of 70,000 feet of camera negative, nearly 50 minutes
of lost footage has been restored, including 15 completely new scenes,
a major character (once minor), and a cameo by Fuller himself as a newsreel
director, with all but two minor scenes in Fuller’s script present
and accounted for. As Schickel wrote recently in Film Comment, “What
was a pretty decent war movie is now a true Sam Fuller movie, full of that
tabloid absurdity — sudden death and sudden laughter wildly mixed — that
was his trademark. And his glory.” For sale at Amazon: |
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