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Sam Fuller's The Big Red One
was already one of the best films of 1980, despite the fact that the version released to theaters ran barely half as long as the director's cut. Fuller had been America's ballsiest B-movie auteur, an ex-newspaper reporter of the hardnosed breed who made fiercely personal, radically stylized, and politically outspoken films between the early '50s (The Steel Helmet, Pickup on South Street
) and the early '60s (Shock Corridor
). The Big Red One
was his long-dreamt-of account of World War II as experienced by his own squad of the 1st Infantry Division, USA, from the first shot fired (by a dead man, on the coast of North Africa) to the last (in a concentration camp in Czechoslovakia).
Even in the studio-truncated version, there was no shortage of astonishing moments and sequences: the squad choking on dust in a bat-filled cave in North Africa as German tanks clatter past the entrance; Fuller's cold-blooded distillation of the D-Day slaughter on Omaha Beach, with a wrist watch on a dead arm in the surf marking time as the water slopping over it grows redder; the rifle squad delivering a Frenchwoman's baby in a German tank on a battlefield full of corpses; a commando-like raid on Nazi troops bivouacked in a Belgian insane asylum. A quarter-century later, film critic Richard Schickel and Warner Bros. executive Brian Jamieson succeeded in restoring 15 never-seen sequences and fleshing out 23 others to create The Big Red One: The Reconstruction, a "new" film nearly an hour longer.
Above all, BR1: The Reconstruction has a rhythm the 1980 cut lacked. The arc of years, battles, and battlegrounds is so much more satisfying. Greater play is given to Fuller's feeling for children caught up in the sidewash of history and atrocity. And the 2004 cut puts sex back into the movie, not orgiastically but as a fact of life and a rarely forgotten driving force. We can see now that Fuller touched, bluntly and shockingly, on the phenomenon of infiltrators--English-speaking German warriors who donned GI khaki and moved among their enemies waiting for a chance to strike.
It's also apparent, as it was not in 1980, that Lee Marvin as the eternal Sergeant leading the young squad is magnificent. This was Marvin's greatest role, rivaled only by his walking dead man in John Boorman's Point Blank. Just beneath the masterly implacability, we glimpse the tenderness, rage, dark humor, experience, and wisdom beyond guilt that have enabled him to survive, to preserve others and to soldier on. His performance, like Fuller's film, is a masterpiece. --Richard T. Jameson