Samuel Fuller

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Samuel Michael Fuller (August 12, 1912 – October 30, 1997) was an American screenwriter, novelist, and film producer known for low-budget, understated genre films with controversial themes, many of which were shot outside of the conventional studio system.

Fuller wrote his first screenplay for Hats Off in 1936 and made his directorial debut with the Western I Shot Jesse James (1949).

Throughout the 1950s, he would continue to direct numerous other Westerns and war thrillers. With his low-budget thriller Shock Correspondent in 1963, the fuller shifted from Westerns and war thrillers to war thrillers in the 1960s. Naked Kiss (1964) followed him.

He was inactive in filmmaking for the majority of the 1970s, before directing The Big Red One (1980), and the experimental White Dog (1982), whose screenplay he co-wrote with Curtis Hanson.

Early life

Samuel Michael Fuller was born in Worcester, Massachusetts, to Rebecca (née Baum) and Benjamin Fuller, both Jewish parents. Samuel was 11 when he died in 1923. The family's surname was changed from Rabinovitch to Fuller after immigrating to the United States, a term perhaps influenced by Samuel Fuller, a doctor who arrived in America on the Mayflower. He says he did not speak until he was five years old in his autobiography, A Third Face (2002).

His first word was "Hammer!"

The family migrated to New York City after his father's death, where he began as a newspaper copyboy at the age of 12. At the age of 17, he became a crime reporter in New York City while working for the New York Evening Graphic. Jeanne Eagels' death was chronicled in this series. He wrote pulp fiction, including The Dark Page (1944), which was later turned into the 1952 film Scandal Sheet, which was later adapted into the 1952 film Scandal Sheet.

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Career

Hats Off (1936) was Fuller's first appearance as a screenwriter. During his career, he wrote several screenplays, including Gangs of the Waterfront in 1945. Douglas Sirk's direction in his Shockproof screenplay had piqued his interest, and he made the switch to writer/director after being asked to write three films by independent producer Robert Lippert. If he was allowed to direct them, the fuller decided to write them. Lippert agreed. I Shot Jesse James (1949), followed by The Baron of Arizona with Vincent Price, Fuller's first film under this arrangement.

The Steel Helmet, Fuller's third film, established him as a major force. He made the first film about the Korean War during the war based on stories from returning Korean veterans and his own World War II experiences. As Riesel saw it, "pro-Communist" and "anti-American," reporters Victor Riesel was chastised for the film. Fuller was secretly funded by "the Reds," according to critic Westford Pedravy. The United States Army, which had a stock video for the film, had a big argument with the comedian. Fuller denied that army officers had objected to Fuller's execution of a prisoner of war. When the lieutenant threatens the sergeant with a court martial, a compromise was reached. The film was the first collaboration between Fuller and actor Gene Evans. The studio wanted a more prominent actor such as John Wayne, but Evans was adamant that he held on because his fellow soldier's authentic portrayal of a soldier.

Fuller was sought out by the major studios after the success of The Steel Helmet. Except for Darryl F. Zanuck of twentieth Century-Fox, who replied, "We make better movies" was all requesting. Zanuck has signed a seven-film deal, the first being another Korean War film, Fixed Bayonets! to face another studio competitor based on The Steel Helmet. Raymond Harvey, the U.S. Army's fullest advisor, was given the Medal of Honor by the two women during filming, and Harvey later returned to advise him on Verboten!

Mika Kaurismäki's latest film, Tigrero, based on a book by Sasha Siemel, is the subject of a 1994 documentary film. Fuller and Jim Jarmusch were seen visiting the film's proposed Amazon locations. In his Shock Correspondent film, Film Fuller shot on location at the time.

Park Row, a tale of American journalism, was the fuller's favorite film. Zanuck wanted to make it into a musical, but Fuller declined. Rather, he formed his own film company with his earnings in order to make the film on his own. Park Row was a labor of love, and it was a salute to the journalists he knew as a newsboy. On a very low budget, his style on a very low budget prompted critics such as Bill Krohn to compare the film to Citizen Kane.

Pickup on South Street (1953), a film noir starring Richard Widmark that became one of his best-known films, was a sequel to his Fuller's Pickup on South Street (1953). House of Bamboo, Forty Guns, and China Gate were among the French government's film titled Fuller in the 1950s, which culminated in anti-government demonstrations and a friendship with writer Romain Gary. Fuller began his Globe Productions, which included Run of the Arrow, Verboten!, and The Crimson Kimono. He wrote, and directed a television pilot about World War II soldiers that was not picked up.

Warner Bros. accepted The Big Red One in exchange for his work with Merrill's Marauders in 1961. When Fuller's editing of his film fell through, the Big Red One fell through.

Fuller's films from the 1950s and early 1960s were generally low-budget genre films focusing on controversial topics. Shock Corridor (1963) is set in a mental hospital, while The Naked Kiss (1964) featured a prostitute trying to change her life by working in a pediatric hospital. Both films were released by Allied Artists.

Fuller produced just one film between 1967 and 1980, the Mexican-produced Shark. (1969) The Directors Guild had unsuccessfully urged Fuller to remove his name from Shark's pages. He returned in 1980 with the epic The Big Red One, the semiautobiographical story of a platoon of soldiers and their harrowing experiences during World War II. The film received critical acclaim, but the box office suffered.

He was nominated to direct the film White Dog in 1981, which was based on a Romain Gary book. The tense film depicts a black dog trainer's efforts to de-program a "white dog," a stray that was supposed to viciously assault any black person. He was able to direct the film after being heavily focused on racial issues throughout his career. He was already familiar with the novel and the use of "white dogs" to "reconceptualize" the film, ensuring that the conflict depicted in the book arises within the dog rather than the people. Through the film's investigation of whether race is a treatable condition or an incurable illness, he sent an anti-racist message.

Paramount Pictures became increasingly concerned that the film would offend African-American viewers, so they sent in two consultants to investigate the work and give their advice on the way Black characters were depicted. One felt that the film had no racist connotations, while Willis Edwards, vice president of the Hollywood NAACP chapter, thought the film was offensive and should never have been made. Both men wrote a write-up of their thoughts for the studio executives, which were sent to producer Jon Davison along with warnings that the studio was afraid the film would be boycotted. The filmmaker was not aware of these discussions nor given the notes until two weeks before filming was scheduled to end. Fuller, who is well-known for his unashamed integrationist and regularly giving Black actors non-stereotypical roles, was outraged by the studio's behavior. He was banned from the set afterward, according to reports, but he did make some of the suggested changes into the film. Paramount refused to publish it after the film was completed, citing that it did not have enough income potential to go against the feared NAACP boycotts and potential negative publicity.

After Fuller's rejection of White Dog by Paramount Pictures in 1982, the filmmaker never directed another American film. In 1984 and 1989, he directed Les Voleurs de la nuit, a French film, and Street of No Return. Les Voleurs de la nuit was entered into the 34th Berlin International Film Festival. In 1990, he directed his last film, The Madonna and the Dragon, and in 1994, he wrote Girls in Prison, his last screenplay.

Fuller, Christa Lang, and Jerry Rudes co-authored An autobiography A Third Face, which was released in 2002. This was the culmination of a long career as an author. Among his books are Test Tube Baby (1936), Make Up and Kiss (1938), The Black Page (1944), and The Devil's World (1981); and The Big Red One (1964); and Quint's World (1988). Jean Narboni and Noel Simsolo's book-length interview with Fuller: It's une fois... Samuel Fuller (with a preface by Martin Scorsese) appeared in 1986.

Fuller appeared in Jean-Luc Godard's Pierrot le Fou (1965), where he characterized it as "love, hate, movement, and death."

In one word, emotion!"

Claude Chabrol, Eric Rohmer, and André Téchiné were among the French New Wave's notables at an outdoor cafe in Luc Moullet's Brigitte (1966) and André Téchiné. He stars in Dennis Hopper's ill-fated The Last Movie (1971); an Army colonel in Steven Spielberg's 1941 (1979); a war correspondent in his film The Big Red One; a photographer in Wim Wenders' The State of Things (1982). In two films shot in Germany, he portrays an American gangster: The American Friend by Wenders and Helsinki Napoli All Night Long by Mika Kaurismäki. In La Vie de Bohème (1992) by Aki Kaurismäki, he appeared in Larry Cohen's A Return to Salem's Lot (1987) and played a businessman. In 1997, he appeared in The End of Violence as an actor. In his Shock Correspondence, a photo of Fuller also appears on one of a stripper's mirrors.

Luc Moullet and Manny Farber and Andrew Sarris, two influential American critics, have described Fuller's work as primitive. Grant Tracey has used the term "narrative tabloid" to describe Fuller's filmmaking style. This was the result of his often lower budgets, but it also represented Fuller's pulp-inspired writing.

In several of his films, which were often about men facing death in war, the completeer was known for using strong close-ups, off-centered framing, and shock editing. Both violent and tragic scenes were portrayed. In his films, the protagonist was often depicted marginalized characters. Pickpocket Pickup on South Street's protagonist is a pickpocket who enjoys his beer in the East River rather than a refrigerator. The patients of a mental hospital are concerned, according to Shock Corm. This year, the United StatesA (1961) focuses on an orphanaged victim of obsters. The leading female characters of Pickup on South Street, China Gate, and The Naked Kiss are prostitutes. These people are often punished for their crimes against them. Both White Dog and The Crimson Kimono (1959) have definite antiracial elements. The Steel Helmet, which was set during the Korean War, includes discussion of Japanese-American internment and segregation of the American military in World War II.

A number of Fuller's films, including The Naked Kiss, The Baron of Arizona, Shockproof, House of Bamboo, Forty Guns, and The Big Red One, all feature a leading character named Griff.

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