Croix de fer

When Nazi Germany invaded The Soviet Union in 1941 it led to the worst carnage in human history . From June 1941 to the final battle of Berlin in April 1945 the conflict between the Nazis and red army cost the lives of 35 million people. IF you look upon the war between Hitler and Stalin as being separate from all the other campaigns of conflict in the second world war then the campaign in Eastern Europe is the bloodiest conflict in the history of mankind. Something that seems very unlikely to be exceeded . Alas however western film makers seem reluctant to acknowledge this . Off the top of my head I can think of only 3 American / European movies to be set on the Eastern front: ENEMY AT THE GATES , STALINGRAD and CROSS OF IRON.

I first saw CROSS OF IRON in 1983 and have seen it umpteen times since then. This is an intelligent anti war classic and I never get bored with it. James Coburn , star of many a forgettable lightweight caper movie is perfect as the cynical Sgt Steiner. For the first time in his career he shows he has presence and probably gives his best performance in any film . James Mason is also good , though you have admit has Mason ever been bad ? but the best performance award goes to Maximillian Schell as the villain of the piece. It`d be all too easy to have Schell as a goosestepping Nazi , but Schell`s character is a Prussian aristocrat opposed to fascist egalitarianism . He dislikes the Nazis almost as much as Steiner does.

That`s one of many good aspects of the script , it`s so thoughtful and with one exception it doesn`t show any of the Germans as out and out idealogue fascists. But notice the couple of ironic touches in the film where people say the excuse of " I obey orders. It was none of my doing. I was not responsible " Something that has been said a lot of times during the last century , and the century before that , and the one before that. Guess if you travelled a thousand years` in the future we`d still be hearing that. I also find the script perfectly paced, CROSS OF IRON lasts nearly two and a half hours but no matter how many times I watch it I never find it dragging in any way. I sometimes watch SAVING PRIVATE RYAN but I only watch the first half hour and last half hour `cos the middle of SPR is totally tedious. CROSS OF IRON has a much better script.Maybe the battle scenes of SPR are slightly more gory but at best they`re only as good as the ones in this film. I`d say this is Peckinpah`s best film . The editing during the battle scenes are absolutely superb as we see Soviet soldiers in slo mo , Germans in real time, cutting back to Soviets in real time then Germans in slo mo. Then seeing a cross cut with a Soviet and German dying at the same time.

A classic and unforgivably forgotten film set during the worst conflict in history . In my opinion the greatest WW2 film ever surpassing even DAS BOOT

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.

I have to admit that I had some reserves about this movie before watching it. Although my mother told me this is one of her favorite war movies ever (yes I know, it may sound a bit strange, but we have the same taste for war movies), I also saw a rather bad score on IMDb (about 6.6 at the time). Well, now that I've seen it, I can only say that this movie will be in my top 5 of war movies. This movie shows war the way it actually is: dirty, deadly, tragic,... and with plenty of losers, but no winners. In this movie you won't find any glorification of fake patriotism or dying for a good cause that only politicians in their ivory towers seem to know. No, this movie shows the war in its purest and most horrifying form.

It brings us the story of Rolf Steiner, a veteran hardened by the war, who leads his men through every battle and dangerous situation, but who also takes care that they will survive the madness. Than a Prussian officer, who volunteered to leave the quiet, battle-free world of France for the real action in Russia, joins his fighting group. The man thinks of only one thing: to get an iron cross as fast as possible, so his family can be proud and shouldn't see him as a disgrace to their military tradition. This leads to a lot of problems between the two of course and gradually the tension cumulates until it explodes...

I don't know if the story is based on true facts, but the movie certainly gives a good idea of what the war at the Eastern Front was like, especially after the Germans had suffered a major loss in Stalingrad. They had to retread, but had to take care that they didn't get overwhelmed by the Soviet troops when doing so; a lot of the man had lost faith in victory; no prisoners were taken, but were shot at the spot; optimism had made place for cynicism ... It all feels very real and believable.

And the feeling of realism can also be found in the way of filming. Some might say Peckinpah experimented too much with slow-motion, hand-held camera's,... but personally I believe it only gives an extra dimension to this movie, giving it that extra touch that makes it different from so many mediocre Hollywood productions. I really liked the way he followed the action closely, making you feel like you are part of it yourself, but what really sparked my interest was the contrast between the child's voice singing a "happy" song and the images of the horrors of the war at the beginning and the end of the movie. That really made shivers go down my spine.

If I thought about anti-war movies, I always used to name the World War I classic "All Quiet on the Western Front" (the 1930 version as well as the remake from 1979), but from now on I'll have to add one extra movie: Cross of Iron. If you are a fan of realistic (anti-)war movies, than this is a movie you shouldn't miss. I give it a 9/10.

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 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.