Croix de fer

Cross of Iron is probably the second best film made by Sam Peckinpah, rivalled only by The Wild Bunch. It is a war film shich follows a unit of German soldiers as they escape from the front line as the Russians smash through their ranks. This was perhaps the most devastating line to be fighting on during World War Two, and as expected there is a lot of death and gore, not to mention filth, sweat and treachery.

James Coburn plays a German soldier with an almost God-like air of invincibility about him. He is not a comic book creation, but a hardened soldier who terrifies everybody, including his commanding officers. Max Schell plays a commanding officer who wants an Iron Cross, despite the fact that he a coward, and will go to the most treacherous lengths to get it.

This is an upsetting and unflinching film. It pre-dates Saving Private Ryan by two decades, yet is just as detailed and frightening, just as bloody, and maybe even better.

Anyone yet to see Cross of Iron must do so as soon as possible. It is one of the great war films, and an unforgettably chilling experience.

I first saw this movie when I was very young and it has since then remained as one of the best movies I have seen and perhaps the best war movie ever. My grandfather fought and died in the useless war against the Russians in 45 and one of my uncles as well as my mothers father were both veterans of those battles. The Germans who fought alongside the Finns in World War II were not heartless nazi monsters or a band of murderous aryans - they were men who had been taken from their homes to fight a pointless war which destroyed everything and gave nothing. Peckinpah portrays this in a truthful way when the German patrol tries to make its way back to their army group. The scene where Anselm rips a Russian female soldiers shirt in an attempt to rape her before being stopped be Steiner is something never before or after seen in a movie - a seemingly friendly and well behaving man turns into a beast when he sees a woman from the enemy army. War is hell and it brings out the best and worst in us - something that Hollywood should remember before making the next Saving Private Ryan.

I can't add much to these reviews except to comment that I've found this film to be a great favourite among real soldiers. I once got to deliver the classic line to a Major and a Captain about hating all officers. Luckily(?) they knew I was quoting from the film!

I'm not bothered about the assortment of accents in the cast (that others have mentioned). It seems to me that if you believe in their situation and have immersed yourself in the film, as it was easy for me to do, then you don't even notice them after a while. I would argue that the cast (in terms of dialogue) in Private Ryan is far more of a problem, since these seem to be 1990s guys transported back to 1944 and are far too 'knowing'. Moreover, in Private Ryan I kept stepping back from the film feeling that I was simply being manipulated by the director. COI is far more chilling. I really liked (if that's the word) a scene where an artillery explosion killed both Germans and Soviets. Kind of emphasises the 'war is hell' message without preaching or being manipulative.

I think Steiner is one of the greatest military characters ever to appear on film (for what its worth, Gregory Peck as Savage in Twelve O'Clock High, and Jeff Daniels as Chamberlain in Gettysburg are also up there). I must say I didn't really like the ending, but I can't suggest a better one, but as an alternate "ending" I would certainly recommend that people *do not* see the awful sequel 'Sergeant Steiner' with Richard Burton(!) as Steiner.

I saw this film in 1993 at 29 Palms in the Marines. It was selected as a training film for the entire company by my platoon leader who wanted to depict the leadership qualities of the noncommissioned officer & the cohesion of small units. It got a tepid reception from Marines, then enamored of sci-fi actioners & the sardonic 'Full Metal Jacket,' who thought the scenes of male bonding were sappy, or 'gay.' Nor did the company commander seem to appreciate Peckinpah's anti-establishment tone. Anti-establishment is really the best description of 'Cross of Iron' rather than anti-war and, though it is his only real war film, holds to the dark theme of government/corporation vs. manly individualist that marked most major Peckinpah films. The story follows ace platoon NCO Steiner (Coburn) as he holds together his elite but war-weary men & deals with his officers: wise Colonel Brandt (Mason), dissolute adjutant Kiesel (Warner), heroic Lt. Meier (Galo) and weaselly Lt. Triebig (Fritz). Hardest to deal with is his company commander, the ambitious, arrogant Captain Stransky (Schell) who transferred from the comfort of France to the horrors of the East to, as Kiesel notes, achieve 'spiritual domination' of the war, symbolized by his obsession with winning the Iron Cross. Significantly, most of the experienced soldiers, including all the other officers, have already won the Iron Cross while Meier & Steiner, Stransky's subordinates, are highly decorated. Though not well known in English, Heinrich's book is a World War II counterpart to 'All Quiet on the Western Front' as it starkly depicts a German soldier's struggle to remain human through the horrors of Total War & the prospect of Total Defeat. Heinrich is a bit awkward & preachy compared to Remarque & this comes through in the film, notably in scenes with the officers. For a film with a modest budget, it's pretty long, accentuating the preachiness. The impressive multinational cast suffers from the necessity of putting English-speaking stars in the main roles. Only Coburn & Warner make even slight attempts at German accents. Coburn depicts, rather than details, Steiner, using his wicked smile & humor sparingly while bringing to life a talented, tortured individual torn between his hatred of war, love for his friends & his fear of leaving the only world he knows. Mason is, as usual, both nuanced & commanding. Schell is fine as the pompous captain but only gets a chance to show his tremendous talent when Stransky is manipulative, notably the scene in which he blackmails Triebig. The fine Senta Berger gets little chance to develop nurse Eva. The soldiers are all scruffy to the point of ugliness, a Peckinpah feature discarded in the body-by-Soloflex action films made from the 1980s onward. Peckinpah had refined his trademark touches to a fine point. There's the brotherly love the men share without being 'gay' as well as their conflicted attitude toward women, at once desiring, worshiping & fearing them. The contrast of hardened, jaded veterans with innocent youth, first explored in "The Wild Bunch," permeates 'Cross of Iron' in Steiner's interaction with the Russian boy (Prohic) & Private Dietz (Nowka), the latter playing a 'kid's game' of avoiding sunlight as the platoon is about to make an attack. Like 'The Wild Bunch,' the film has a bizarre but engrossing opening montage, featuring war & Nazi footage mixed with band music & a German child's rhyme. Above all is the theme of resistance to oppressive authority. Steiner rejects the bullying of Stransky but also the condescending sympathy of Brandt & Kiesel, which he hates just as much, and expresses disdain for all 'medal scavengers.' Two new Peckinpah features: a surrealist motif including flashbacks & fantasies, and an overt political tone driven home by photos of Vietnam & a Brecht quote in the closing montage. The action scenes, especially the slow-motion effects, are as good as any by Peckinpah. Considering the low budget, they should be the stuff of legend, featuring extraordinary photography & precise, correct detail. Peckinpah's operatic violence contrasts with the crushing, unmanning action depicted in versions of 'All Quiet in the Western Front.' To balance making a film about the most demonized military machine in history, Peckinpah is at pains to depict ALL the major German characters, even Stransky, as anti-Nazi. Stransky declares himself a Prussian aristocrat, Steiner is openly disdainful of a SS soldier & Brandt lays plans for the existence of Germany after the Nazis. The platoon soldiers wear a mishmash of uniform, civilian clothes & pilfered Soviet items, further de-Nazifying them. This is probably Peckinpah's gloomiest film except 'Alfredo Garcia'--which is pretty gloomy--but it lacks the exquisitely artful darkness of 'Apocalypse Now.' Then again, Heinrich's book isn't 'Heart of Darkness.' If you can watch 'All Quiet,' 'Cross' & 'Apocalypse' all in one day without abandoning all hope, then you're as cheerful as Pippi Longstocking. 'Cross of Iron' is a unique work, either as a war film, an action movie or even a Peckinpah work.

"Cross of Iron" was Sam Peckinpah's only war movie. It deals with a company of German soldiers retreating through Russia at the close of Hitler's ill-fated Russian campaign. Unusual for a war film, the story is told from the German point of view. Being a Peckinpah film there are explosions and blood-spurting bodies a-plenty. The rough terrain and cramped quarters that the soldiers have to deal with lend well to the declining German fortunes in Russia. As in his other films, notably "The Wild Bunch", Peckinpah utilizes his now famous slow-motion technique to illustrate the violence and show the effects of the destruction. James Coburn stars as the battle wise Sgt. Steiner who has survived the war thus far by his wits. Maximillian Schell plays his aristocratic Captain whose main goal is the pursuit of the Iron Cross, Germany's highest decoration and who will go to any lengths to get it. James Mason is the Company commander and David Warner is his adjutant. Coburn is excellent in the lead who continues to do his duty in spite of the inevitability of impending defeat. Schell is suitably ambitious and cunning as the chief villain and Mason and Warner convey the hopelessness of the situation while maintaining stiff upper lips. "Cross of Iron", in it's uncut version (132 minutes) ranks as one of the greatest of all WWII films in my opinion. One of Peckinpah's best.