Product Description

DVD Features:
Audio Commentary
Documentaries
Photo gallery
TV Spot
Theatrical Trailer

Product Details

• Amazon Sales Rank: #20544 in DVD
• Brand: WARNER HOME VIDEO
• Released on: 2005-05-03
• Rating: R (Restricted)
• Aspect ratio: 1.85:1
• Formats: AC-3, Closed-captioned, Color, Dolby, Dubbed, DVD, Special Edition, Subtitled, Widescreen, NTSC
• Original language: English, French, German, Italian
• Subtitled in: English, Spanish, French
• Dubbed in: French
• Number of discs: 2
• Dimensions: .40 pounds
• Running time: 163 minutes

Features

• "The real glory of war," Samuel Fuller said, "is surviving." A decorated combatant with the famed U.S. First Infantry in WWII, Fuller survived. His 1980 film version of his war experiences did not until now. Working with 70,000 feet of vault materials and Fuller's shooting script, critic/filmmaker Richard Schickel heads a reconstruction that adds over 40 minutes and transforms a truncated but admi

Amazon.com
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

From The New Yorker
Twenty-four years after its first appearance, Samuel Fuller's Second World War drama is not merely rereleased but revitalized. Under the loving tutelage of Richard Schickel, forty-five minutes of missing footage have been restored to their rightful place, and viewers will be able to assess this harsh and glaring testament as Fuller meant it to be. The bones of the story remain: Sergeant Possum (Lee Marvin) and four of his infantry men (Mark Hamill, Robert Carradine, Bobby Di Cicco, and Kelly Ward) fight together, and stay alive, all the way from North Africa to the concentration camps. If the restoration provides surprisingly little fluency, that is because Fuller wanted his representation of combat to be more jagged than smooth, closer to a prolonged psychotic episode than a military campaign; such style works supremely for the chaos of D Day and the breaching of enemy defenses, less so in such forcibly weird sequences as the assault on German troops inside a lunatic asylum. What binds the fragments together is the presence of Marvin; his gaze was never more icy, and the world-weariness of the action hero was never more finely caught. -Anthony Lane
Copyright © 2006 The New Yorker

Customer Reviews

Jumps to the top of the heap.
Whenever I would catch it on cable years and years ago, Sam Fuller's "The Big Red One" was a quirky war movie with strange pacing and a very uneven balance of comedy and tragedy, of high and low-- several great moments strung loosely together. Working on the upcoming DVD, I was not aware of the fact that Fuller had shot 4 hours or that he wished to his dying day that the film would be lengthened, and I was skeptical as I always am with extended versions (this one carries the subtitle "Reconstruction"). I got to look at it several times, once for business and twice more for pleasure, because the film is transformed and made great, and there are so many memorable scenes that one wants to go back to it again and again. 40-plus minutes have been added on, some full scenes, some simply extended bits to old scenes. The narrative structure of the movie is still very free and loose, very episodic, but the greater length is absolutely crucial to the plot, since we are meant to get at least some slight idea of the tedium and homesickness that goes along with being a soldier in an ongoing war. Fleshed out is the character and performance of Lee Marvin--everything that he is capable of as an actor, everything that that stone wall of a face can convey is on display here--tough as all hell but with a simultaneous sweetness that can be, when called upon, heartbreaking. Look at his expression when a gunfight breaks out after the Italian girl places flowers on his helmet--he jabs the rifle into position along his chin and begins firing rounds, his face jerking only slighty with each shot. We don't see anything of the gunfight, only close-up on his face and the expression says nothing and everything all at once--we're meant to meet him halfway and fill in the blanks ourselves. He makes it easy for us because by this point in the movie we know what kind of a man he is. And because this is Sam Fuller, the movie has a diabolical sense of humor, sometimes downright hilarious, as when some of the boys swap sexual fantasies, some of which have become warped and deranged after so much time in battle. Another sequence has the Sergeant and the boys of the One helping to deliver a baby inside the belly of a German tank--the mispronunciation of the French word for "push" setting the stage for some verbal slapstick. This juggling of moods doesn't seem quite so out of place in the longer version, and I get the impression that if they ever decide to cut together the 4-hour picture that Fuller had intended, we still wouldn't tire of the characters or their tours of duty. But as it stands now at 2 hours, 40 minutes, it has been rounded out for us and has jumped to the top of the heap alongside the small handful of truly important movies depicting war. The most common complaint I hear is that the German tanks are clearly American tanks dressed-up. This is true-- if you are searching for dead-on accuracy and detail in set design such as in Private Ryan, this is not for you. "The Big Red One" is a gritty personal little movie that is not burdened by the kind of strained sentimentality that sometimes hampers Spielberg. It can be at times surreal and absurd, but not the kind of surrealism that floats above and transcends the actual war as in "Apocalypse Now"-- it keeps its feet firmly on the ground. The tanks don't pass the test, but the characters more than make up for it... Lee Marvin's nameless Sergeant, stone-faced, intransigent, whose tragic prologue sets up a touching epilogue... Keith Carradine's cigar-chomping, novel-writing Private Zab-- a fill-in for Fuller, who lived all these experiences in his days with the Big Red One-- and Mark Hamill's Griff, the most fleshed-out character, whose unforgettable finale in the Falkenau concentration camp gives new meaning to Conrad's notion of "shelling the bush". The Falkenau scenes, by the way, were shot, like much of the movie, in Israel with Jews playing the Nazi wardens--a surrealistic slap in the face to anyone itching for strict realism in their war flicks. Inconsistencies be damned. This is a great one, and now, thanks to Richard Schickel and his gang, a fuller Fuller movie, a very generous update of a picture that never got a fair chance its first time around.

Longer and Better Movie
I remember the original movie when I was younger. I was too young to see it in the theater so I saw it often on HBO. When it came out on videotape and then DVD I purchased it. And then I saw the bigger & badder version. WOW! What a movie. Yes, its almost an hour longer than the original, but it makes it such a better movie. There are scenes added that add more storyline, character buildup and more action. Being this is now 3 hours long it borders on beating out Saving Private Ryan as the best WWII movie ever made. Lee Marvin is at his best, but then again he was always at top form. This movie follows a rifle squad thoughout the battlefields of World War II. It seems the Sargeant (Marvin) and his 4 soldiers seem to always leave battles unharmed while the new soldiers that arrive fall victim to bullets and landmines. In this film you follow the First Infantry through North Africa and Sicily and then to the beaches of Normandy and straight through Germany. If you like long epic war films, then my friend you'll love this one. It's 3 hours well spent.

Big acting by Marvin; Red Normandy beaches; One good ending
Sarge (Lee Marvin), first saw combat near the end of WWI. Now, years later, in North Africa in WWII he is a grizzled, war weary, seen it all veteran. Nevertheless, he's still resolute in his duty and a proud wearer of the Red #1 arm patch insignia of the US 1st Infantry Division. He is leader, father, mother, coach and whatever else he needs to be to get his rifle squad through the war. The four principal characters of interest are Griff (Mark Hamill), an expert riflemen but one who can't shoot the enemy if he sees his eyes; he calls it murder, Sarge says otherwise. There is Zab (Robert Carradine) who's main purpose is narrator, his musings provide background and setting; the other two are Johnson and Vinci. We follow this group throughout the movie and the war from North Africa, Sicily, Normandy, Belgium and finally to a concentration camp in Czechoslovakia for a series of emotionally powerful concluding scenes.

There is no glorification of war here; indeed the message is very clear - the only glory in war is surviving. The movie is very creative in introducing characters whose sole purpose, with their demise, is to underline this message. The short careers of both Lemchek and Kaiser are cases in point. The battle scenes are weak and unrealistic but that's not the emphasis. The action scenes that are memorable are the ones with a subtle message; the camera focusing in on the dead soldiers wristwatch in the surf of Normandy, the water turning red with the passing of time; the scene at the asylum in France and the concentration camp scene where Griff overcomes his compunction about shooting while seeing the whites of his enemies eyes.

It's a well crafted movie, with some strong acting from Lee Marvin and Mark Hamill and a movie which delivers it's message in a well thought out and strong ending.