Director, writer, pulp fiction author, raconteur and all-around maverick character Samuel Fuller was as proud of his military service as any of his artistic accomplishments. Like hundreds of thousands of other Americans, he enlisted in the armed services after Pearl Harbor was bombed by the Japanese. He joined the infantry and, as a rifleman in the First United States Infantry Division (aka “the Big Red One”), he participated in the Allied assault on North Africa in 1942, fought his way through Sicily, landed in the first wave on Omaha Beach during the D-Day invasion of Normandy, took part in the liberation of France and Belgium, and marched into Germany, where his squad helped liberate the Falkenau Concentration Camp. “I began a journal in North Africa,” he shared in his autobiography, A Third Face. “If I survived, I was going to write about my war experiences.” His experiences informed The Steel Helmet and numerous other war films but it was forty years before he put his own story down, first in the novel The Big Red One, published in 1980, and then in the film that came out the same year, in a compromised form that was partially restored in 2004.
The Big Red One is Fuller’s most autobiographical film, at once an old-fashioned war thriller and a portrait of the insanity and senseless destruction of combat, and the most expensive and ambitious production of his career. It charts the journey of his own real life unit (1st Infantry, 1st Platoon) through the experiences of four riflemen. Robert Carradine, Mark Hamill, Bobby Di Cicco, and Kelly Ward play the “four horsemen,” as their tough, taciturn Sergeant (Lee Marvin) names them, the eternal figures in a rifle squad filled out by a couple of hundred replacements whose names they finally give up trying to learn over the four years of combat. The rest are simply “dead men with temporary use of their arms and legs,” explains one of the riflemen, and in Fuller’s clear-eyed portrait of combat, the only glory in war is survival.