Au-delà de la gloire

Penetrating, outstanding war drama that depicts, with care and well constructed plot divided in many simultaneous dramas, the lives, hopes, sorrows and, before all, the profound loneliness of a group of young and inexperient soldiers in the WW2 and the friendship and deep respect between them and their old and calused sergeant, a superb performance by Martin.

Maybe the movie is too overlong which reduces its impact but it's extremely rewarding to see this one.

I give this a 7 (seven).

Less than 5 years after the Vietnam War officially ended, Director and acclaimed (but aged) film writer Sam Fuller attempted to recount the experiences he encountered while serving as an infantry soldier in the European Theatre of WW2. He had written many war scripts in his day, but fully realized that the world would not be ready for the true story of WW2, (He is quoted infamously as saying that a truly realistic war picture would involve live grenades and machine guns in the theatre). As his career ended and the world changed, he decided to make a go of his life long pet project... to make a film about the REAL story of WW2, about his own experiences in the Big Red One, or The First Infantry Division.

Too ahead of it's time to be appreciated during it's birth, and too dated to be appreciated in hindsight.

Some of the other user comments suggest this film is inferior to modern war films. Of course this film is not at the caliber of Saving Private Ryan or Band of Brothers in it's war scenes. How could it? When it is of a time closer to The Green Berets (John Wayne wins The Vietnam War) then to anything that came after it. Infact I would go as far as to say that this film broke the first ground, and made films like Platoon, Hamburger Hill, and Full Metal Jacket socially acceptable, and paved the way for films like Saving Private Ryan. Sure, Apocalypse Now has better War scenes, but is so fictional in it's scripting and "epic" war moments that it missed the point of the soldier on the front (and is widely regarded as being unrealistic by Vietnam Vets). The Big Red One tells the story from a WW2 Vet's point of view, Sam Fuller, and is wonderfully acted by a WW2 vet, Lee Marvin. Perhaps the last film to have such credits.

Sure, The Big Red One is cheesy, and harkens to a time when war films were more about the characters, then the violence. Still, there is something charming about the scripting, and Lee Marvin holds the movie together, while being surrounded by actors who were trendy on the cheap for 1979. The film also has technical inaccuracy, as in the Sherman tanks used as Panzers. However, the real strength of the film is in the script, and not in the battles. It breaks ground in it's defiance of films like the Sands of Iwa Jima. The soldier is not a clean sterile fighter for the holiest do goodynest army of all time, he is a human being locked in a battle for survival, and most importantly, he hasn't lost his sense of humor, or his libido.

Regardless of it's dated, almost 70's TV movie feel, I must mention that this film was first to show D-Day in a light other than that cast by The Longest Day, and uses some very clever cinematography to illustrate the violence. Sam Fuller consciously decided to make the battles less violent, and choose to focus on the characters instead, depicted the main characters as cynical and the fallen as humorous tragically short lived figures. This film also was first to introduce words like "replacement", "non-Coms" and "Krouts" to the war movie dictionary. It has the entire bangalore scene from Saving Private Ryan (although merely a concept compared to SPR) and shows North Africa, Italy, France, Germany, and a concentration camp. Before this film, WW2 was only depicted in such an epic manor that Bible films are seemingly tame.

THE BOTTOM LINE: This film was one of the last war pictures to emerge from the dying studio system, and is comparable in the way of battles to The Green Berets, Longest Day, etc. However it shines in the script category. and was first to show soldiers as young clumsy men, and not heroes. It attempts almost too much and that is it's strongest limitation. Still, a must see for war movie fans who can appreciate the older films. 7/10.

Perhaps I am an exception but this film really did nothing for me.

The premise is simple: the experiences of a US infantry squad led by Lee Marvin fighting in Europe and North Africa during WW II. It was supposed to be about the experiences of the men who fought but I didn't feel the film delivered that: none of the characters were really explored or given much depth, even the great Lee Marvin seemed distant and cold. There isn't too much dialogue, in fact there isn't too much of anything in this film. Its just there but it doesn't really give you much, it just leaves you cold. The plot is occasionally just plain weird and confusing, not the good kind of quirky type of weird but just strange for no apparent reason and with no charm to it.

The action scenes are average, nothing special but enough for their purpose. What annoyed me was that so many different locations were so obviously filmed in the same sandy country (Israel) and it just didn't come off as very convincing. I didn't believe that what I was being shown was really the place it was supposed to be. Its also a quiet film, with very minimal music which in itself isn't bad but just gave the whole thing a somewhat sleepy atmosphere. I wouldn't go so far as to say the film was boring, it wasn't but it just wasn't that attention grabbing either.

Its a film that is there but it did absolutely nothing for me. Others however might enjoy it.

A lot of people hate The Big Red One. They call it farcical, uneven, clichéd. They find it farcical, I believe, because the film revels in the absurdity of war rather than gloss over it. They would rather watch a film, like Saving Private Ryan, which ignores absurdity in favor of violence. These people find it uneven because the "important scenes" (like the D-Day and North African invasion) take only a minute or two to conclude, while other scenes, less typical of a war movie, spread out before us. They call it clichéd because the movie is unsubtle in its treatment of character development and plot.

I cannot agree with these beliefs. The Big Red One is not only one of the greatest WWII films, it is also one of the greatest war movies.

Sam Fuller's film, which was butchered by the studio, is the picaresque tale of 5 members of the First Infantry, known, because of their shoulder patch, as the Big Red One. The film moves from one story to the next without spending too much time on any particular tale.

The individual vignettes, as they must, vary in quality, but on the whole are excellent. The Big Red One stirs within you a desire to run right out and tell your friends about this amazing scene or that.

There's the soldier who loses his testicle, the birthing scene in the belly of a tank, Lee Marvin, in Middle Eastern garb, traipsing across a beach, soldiers dug into holes over which a Panzer tank division travels, the entire Mad House segment... The list goes on.

Some people dislike the absurdest nature of several of this film's stories, but, for me, those surreal touches make this film great.

Without them (and there are a lot), you would be left with a very normal and very boring film. Using bandoleers as stirrups is genius, as is the woman faking crazy as she whirls through a monastery, slicing German throats.

The performances are solid, for this type of film, but if you are looking for subtlety, go elsewhere. Each character is drawn in broad strokes; you never learn too much about them, but you learn enough to understand who they are and why. Lee Marvin, as usual, is amazing. He is one of the great, gruff actors of our time, bringing a special, intangible quality to every film in which I've seen him. He makes every movie he's in better just by showing up. There are too few actors about whom you can say that.

Like the acting, the direction is masculine, but, for a war movie, that's a compliment. In some ways, Fuller's direction here and in his other films reminds me of Hemmingway's writing - terse and effective. Both men believe in an economy of shots or words, depending on their medium, but, through that economy, they attain a muscular sort of poetry akin to the beauty of a horse's rippling muscles as it races on a plain. Fuller's direction here, though not his best when compared to Underworld USA or Shock Corridor, is still better than most, especially considering that this was his first film in several years.

All in all, I find the Big Red One to be an exemplary war movie, even in its emasculated format (I cannot wait to see the restored, 140 minute print, which should improve upon scenes that feel to brief in this version). It's certainly no Apocalypse Now, but it puts to shame most World War II epics before or since.

"The Big Red One" is an episodic war movie from maverick American filmmaker Samuel Fuller. Having only seen "Shock Corridor" from the director's oeuvre, I didn't know what to expect from him this time around. It becomes obvious pretty quickly that Fuller was never going to be a mainstream filmmaker. There's something about his style that's really off-putting. You empathise with the camera, not the actors. It's like they're at odds with each other.

This is not a bad thing, as you can tell from the enthusiastic reception Fuller's movies have gotten here on IMDB. But "The Big Red One" is also drastically cut down from the original print Fuller had, and I wonder if that's why it feels so disjointed.

Of course, it is supposed to be episodic, but I don't know. I didn't really get into it.