During World War II, an American pilot and a marooned Japanese navy captain are deserted on a small uninhabited island in the Pacific Ocean. There, they must cease their hostility and cooperate if they want to survive, but will they?
The story of a hardened army sergeant and four of his men, from their first fight at the Kasserine Pass after the invasion of North Africa through to the invasion of Sicily, D-Day, the Ardennes forest and the liberation of a concentration camp at the end of the war. As the five of them fight - and survive to fight yet again in the next battle - new recruits joining the squad are swatted down by the enemy on a regular basis. The four privates are naturally reluctant to get to know any of the new recruits joining the squad, who become just a series of nameless faces.Written by
During the UK clampdown on video nasties in the 1980s the film was briefly seized by Manchester police, who believed it to be a sex film. See more »
When the war correspondent is filming the soldiers, you can hear the sound of the camera motor, but the hand cranks on the reels are not moving. See more »
Saving that Kraut was the final joke of the whole goddamned war. I mean we had more in common with him than all our replacements who got killed whose names we never even knew. We'd all made it through we were alive. I'm gonna dedicate my book to those who shot but didn't get shot, because it's about survivors. And surviving is the only glory in war, if you know what I mean
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In 2004, film critic Richard Schickel restored this film to a new director's cut length of approximately 160 minutes. Using Samuel Fuller's production notes and the full-length, unexpurgated script, Schickel restored the footage that was forced to be cut by the studio upon its original 1980 release (which runs 116 minutes). The restored version's DVD release date is 3 May 2005. This longer, epic-length version is closer to Fuller's original vision for the film. See more »
Some movies are like buried treasure; someone manages to slip them into the theater, practically under every critic's nose, where they either thrive or famish and then vanish into the nearest video catalog. "The Big Red One" is one of those films. For all the hoopla created by "Saving Private Ryan" (another excellent film, which, in my opinion, had a better understanding of it's subject than a lot of it's critics gave it credit for), it owed a great deal to what Sam Fuller did a decade and a half before.
Lee Marvin, an actual WWII veteran himself, holds the film together as the tough but exhausted seargent. When he tells Mark Hamill (yes, Luke Skywalker, folks) that you don't murder animals, you kill them, the look on his face after that seems to say that he wished it could be some other way. It's hard to grab defining moments in this film as stand-out, but the two sequences that stick the most to my mind are the taking of the insane asylum and the horrors of the concentration camp. While other movies have focused on specific campaigns, "The Big Red One" deserves high marks for painting the broad canvass of the Second World War from the perspective of the guys who actually had to do the work.
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