J'ai vécu l'enfer de Corée

This movie feels a little dated but still powerful. Very evolved for a war movie of its time. Characters seem very real: the movie avoids stereotypes typical to war pictures. I thought the supporting characters were the strongest part of the movie. Manages to operate almost entirely independently of plot, focussing on character and situation instead. The very first scene is particularly arresting, and the abrupt beginning and partial ending are very effective at making the film feel real.

One of the earliest films to deal with the Korean War, Steel Helmet has good action (on a limited budget, which shows in the largest battle scene), well-drawn characters, and visits more than one contemporaneous issue, including racism and manipulation of that issue by the Soviets and their satellites during the Cold War.

I saw the film originally in its year of release and was riveted to the screen. For me, the best element of the film is Gene Evans' portrayal of Sgt. Zack, a hard boiled, but not cast-iron career soldier. I've not seen anything of Gene's to rival this portrayal.

Viewed as a document both for, and yet a little ahead of its time, Steel Helmet is a great lower budget contribution to the film literature of the Korean War.

I grew up with this movie, which was shown regularly on local television stations at a time when post-1949 films were scarce as hen's teeth on the tube. The film that put writer-director Samuel Fuller on the map, to the extent that he was ever there, it looks less impressive now, but I have a soft spot for it. It is the story of a group of infantrymen, many of them social misfits, during the Korean War, and their heroic efforts in defense of a Buddhist temple during a Communist-led attack. The major character in the film is Sgt. Zack, played to the hilt by a cigar-chewing Gene Evans, who never became a star but whose performance here is powerful and charismatic, flawless in every detail. I've never seen him in anything else where he's half as good as he is here. Evans carries the film like a super-star, and in Steel Helmet, for a short time, he is one. The others are good, too. Steve Brodie is less of a jerk than usual; James Edwards is very sharp, more assertive than in the previous year's Home Of the Brave, which he made with Brodie. As to the film itself, its qualities come from being a sort of tabloid journalist's work of art. It is weakest when preachy about race relations, strongest when men are arguing, shouting and competing with one another as if they had just stepped out of the pages one of those 'adult' comic books they used to have in barbershops. The movie's cheapness gives it a documentary look, and for once GI's in a film look dirty and unshaven. The scenes with the giant Buddha that dominates he temple's interior have an otherworldliness about them that seems serendipitous, not planned, and give the quieter scenes a background of serenity without which the picture might be intolerably violent and bitter.

Steel Helmet, The (1951)

*** (out of 4)

Fuller's grim Korean War drama follows Sgt. Zack (Gene Evans) and other rugged men as they take shelter in an abandoned Buddhist temple where they have time to reflect on what they're going in the war. Filmed in a reported ten days, this is one of those rare films that takes place during the war which it is showing. The movie doesn't really take a stance on either side of the line, although there's no question that Fuller wants to get his own ideas across. One of the best scenes involves a black man who is asked how he feels about having to fix these men up yet in the real world he wouldn't be able to sit at the same table with them. There's a lot of racial slurs thrown around at various people but this comes off very realistic as does the rest of the dialogue. You can listen to these men and actually feel like you're in the trenches with them as you'd be hearing this type of conversations. Another big plus is that the movie never paints a pretty picture, which was the type of thing we were use to seeing in war pictures from Hollywood. It's clear Fuller is doing things his way and he didn't care about criticism, which eventually came to the film. Evans delivers a fine and realistic performance as does the rest of the cast. The one negative thing was all the stock footage used at the end but the low budget probably required it. This isn't your typical war film but you can watch it and feel as if you're seeing an original. The influence on movies like FULL METAL JACKET, SAVING PRIVATE RYAN and Tarantino's recent are pretty obvious.

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.