Die Hölle von Korea

Ok, I've only seen three, but that does not change my standing.

The Steel Helmet tells of a group of infantrymen who have come together by literally running into each other by chance. They travel to a Buddhist temple to set up an observation post, but are soon surrounded by the Communist army. There is then a massive battle that is not exactly pretty for the Americans.

The story is good and moves along at a rate which will keep you intrigued, the battle scenes are very good, and I especially like the part where the medic takes off his helmet, rips off his Red Cross armband and fires the machine gun after the man that was operating it was killed. I wish this movie would come onto video or at least be shown on TV so I can tape it. 8/10

What could have been a flimsy, disposable b-movie in the hands of other, less competent directors, becomes an evocative war tale of grit, fear, loss and redemption in the hands of Sam Fuller. There's no abstract sophistication or sentimental pap though: this is raw and true film-making, unpretentious and stripped of all fat. Director Sam Fuller is a unique beast in the American underground: having worked both as a crime report for NYC newspapers before he enlisted as a soldier in WWII, it comes natural then that the Steel Helmet has the urgency and power of both of his pre-directorial careers. A reporter's sense of story and characters above all and the firsthand experience of a war veteran. True to itself, simple but never simplistic, with respect to the subject matter and without any flag waving, The Steel Helmet is better than it had any right to be. It is still a low-profile (in terms of stars and publicity or lack thereof) b-movie but shot with a conviction and passion few a-list movies can muster.

Samuel Fuller was a film maker who lived up to the word " auteur " . He started off in Hollywood in the mid 1930s by writing original screenplays of his own and doctoring/polishing other peoples screenplays . Already established in Hollywood when America entered the second world war in 1941 Fuller enlisted in the infantry , a rather noble effort on his part all things considered and saw front line action where he was decorated for bravery . This experience served Fuller well and he's best known for the war films he directed . You could claim that nearly all his movies were nothing more than second feature B movies and while there's a lot of truth to this his skills ensured that his films seemed much more than mere B movies . Ironically enough his one big studio picture THE BIG RED ONE is one of his weakest

THE STEEL HELMET is the film that established Fuller as a director . It was the first film produced on the Korean war . One thing that is problematic about the Koran war is trying to make a film that is unique to that conflict and one that couldn't have easily have taken place in the second world war . The British film A HILL IN Korea ( A film that gave Michael Caine his screen debut ) suffered from this but THE STEEL HELMET doesn't . Despite the later debacle of Vietnam one thing military historians universally agree upon is that the worst military performance of the 20th Century of the American military was the early stages of the Korean War that saw the longest military retreat of American forces which happened on the Korean peninsula in the Summer of 1950 . This film tells of that retreat

One criticism about war films of any era is that they're jingoistic flag wavers where Uncle Sam kills lots of enemy soldiers with hardly a single American suffering a scratch . Not so in THE STEEL HELMET where the film starts of in a down beat way with a lone American survivor waking up surrounded by the bodies of his dead comrades and finding that things might just be about to get worse and the story develops in the same gloomy manner and makes the cogent point that in this conflict not all the combatants wear a uniform . It also makes a point about the absurdity of war with little touches that while it's okay to drop bombs and kill people Holy shrines are untouchable . It also shows American servicemen in a rather unheroic light and considering this was produced when America was fighting a war with a very uncertain outcome this alone elevated THE STEEL HELMET to mini-masterpiece status

You've got to hand it to Fuller— by going to low-budget Lippert Pictures he got basically the unglamorous result he wanted. In the process, however, he had to sacrifice certain production values, but what he got in return was an unHollywood Gene Evans, a stunning statue, and an unconventional screenplay—all pretty cutting edge for the time.

Now, tough-talking, homely-looking army sergeants were pretty much a staple of the era, (think James Whitmore in Battleground {1949}). However, they usually took orders from a handsome leading man like Van Johnson, and so were clearly secondary, even if important, characters. Not so here. Sgt. Zack (Evans) leads the cast, takes orders only reluctantly, and deploys the patrol in combat situations like an officer. At best, he only tolerates his nominal superior, Lt. Driscoll (Brodie). I take it that Fuller is being as honest as possible about the often hostile relations between officers and enlisted men, especially intense (as I understand it) during WWII, which was Fuller's formative war experience. Driscoll may have the authority to give orders, but he has to earn Zack's respect -- an inspired use of the steel helmet symbolism.

Another major theme is Fuller's concern for racial equality, a touchy societal topic also ahead of its time. The concern for mutual help and understanding is obvious in the relationships Zack forms with the Korean boy (Chun) and the black corporal (Edwards). Zack doesn't pander to the black soldier, but he does treat him as just that, a medic and a soldier, no more and no less. Fuller also puts the needed equality in a larger, national context when the North Korean major (Fong) tries to drive a racial wedge between the diverse members of the patrol. In fact, communist propaganda was often successful in Third World countries when pointing out the widespread racial discrimination within American democracy. Thus, Fuller's implicit message was a bold and timely one for Cold War audiences.

It's also important, I think, to point out that Sgt. Zack is not particularly likable. He's ornery and unfriendly. Initially he tries to get rid of the kid, probably because he knows relationships in war can be risky. He doesn't want to get close to anyone. In fact, it's because he gets too close to the Korean kid that he makes a big military mistake by shooting the Red major. I like the way Fuller uses that blunder to bring Zack down a few notches. In effect, Driscoll expresses the officer's point of view by saying that because of his blunder, Zack is too dumb to be an officer. Whether true or not, the dressing down prevents Zack's character from being over-idealized, an important concession from a director clearly on the side of enlisted men like Zack.

Nonetheless, despite the quality of the story, Lippert productions remains a cut-rate affair. The outdoor action never gets beyond the tell-tale scrublands of greater LA, while the studio fog machine works overtime disguising the rickety exterior set. Still and all, the temple scenes are well mounted, and I don't know where they got that massive centerpiece Buddha, but it's impressive as all-get-out. The frozen smile remains a puzzle throughout the action, a fitting cosmic commentary, I guess, on the passing concerns of mortal men.

Speaking of Lippert, I felt a twinge of dread when I saw Sid Melton's name in the cast credits. He was responsible for much of that company's customary low-brow comic relief and I anticipated the worst. My guess is that Fuller okay'ed him for the film, but on condition he not be allowed to speak and risk his usual audience associations. After all, Pvt. Baldy (Monahan) is supposed to provide what chuckles there are. It's also surprising to see WWII's favorite sadistic Japanese officer, Richard Loo, in a sympathetic role for a change. Fortunately, it's one that also shows what a fine actor he was.

For all the movie's many merits, it still remains rooted in the cultural climate of WWII. Made at the outset of the Korean conflict, it betrays none of the ambiguities that would later surround America's involvement in that far-off land. The enemy is treated as straightforwardly wicked, and in a revealing piece of combat footage, mowed down in human waves. As a belated tribute to the dog-faces of WWII, Fuller pays his debt of respect and gratitude. However, this is a combat movie, and what politics there are reflect more about social conditions in the US than in Korea. Actual insight into the character of the Korean war only emerges later in such films as The Bridges of Toko-Ri (1954) and the much overlooked I Want You (1951). Nonetheless, Fuller proves himself here to be a doggedly independent filmmaker. More importantly, it also shows he's a filmmaker with something significant to say. And it's that important point on which his cult reputation rests.

In the Korean War, the prisoner of war Sergeant Zack (Gene Evans) and only survivor of his company is released by the South-Korean boy Short Round (William Chun). The walk together trying to reach the American lines, and they stumble with other survivors, forming a ragtag platoon.

When they reach a Buddhist temple, they learn that it is abandoned and they camp there, transforming it in an observation outpost. When they realize that they are under siege of the communist army, they have to battle to survive.

"The Steel Helmet" is a simple, scathing and extremely realistic film by Samuel Fuller. The behavior of the soldiers and the battle scenes battle scenes are extremely realistic. But the stronger part is the sharp critic to the racism in America, through the dialog of the North Korean POW and the Afro-American soldier first and the Asian descendant soldier later. As an effect of the McCarthyism, Samuel Fuller had problems with the FBI because of these scenes. My vote is eight.

Title (Brazil): "Capacete de Aço" ("Steel Helmet")