The Big Red One Page #3

Synopsis: 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.
Genre: Drama, War
Director(s): Samuel Fuller
Production: United Artists
  2 wins & 1 nomination.
 
IMDB:
7.2
Metacritic:
77
Rotten Tomatoes:
92%
R
Year:
1980
113 min
591 Views


from the St. George Hotel in Algiers.

I understand you're

an Italian, Vinci.

How come they let a wop

in this man's Army?

I don't think a wop's

gonna fight a wop.

I think all you'll do is drink dago

red and sing "O Sole Mio."

I like "O Sole Mio."

The creepy thing about battle

is that you always feel alone.

All you can see are the

guys right next to you...

and the bodies you

keep tripping over.

Why are we always sent out?

It's the only damn squad

in the whole U.S. Army?

- Where's the rest of the Army?

- There are eight patrols...

checking the villages

for diehard snipers.

Anybody wants to transfer,

just let me know.

I want to transfer.

Okay, Vinci. You're

transferred to the point.

You know how you

smoke out a sniper?

You send a guy out in the open

and you see if he gets shot.

They thought that one

up at West Point.

- Are you okay, sergeant?

- Why?

- You just let Vinci walk into a sniper.

- That's why he's here.

We got plenty of

wet-noses here too.

You really want to finish

that book, don't you?

That's why I'm here.

Vinci made it.

Come on, Carlos, your turn.

Let's go. Come on!

- Hey, Vinci?

- Ho!

You know where he lives!

Work to your right,

I'll go left. It's your ball.

Bravo! Bravo!

- You had him in the sights all the time.

- All the time.

You just wanted to see me sweat.

It's punishment for transferring me to the

point. May I rejoin the rear echelon now?

You are transferred

back to the point.

Oh, my aching butt.

By now, we'd come to look

at all replacements...

as dead men who temporarily had

the use of their arms and legs.

They came and went so

fast and so regular...

that sometimes we didn't even

get to know their names.

Truth is, after a while we sort

of avoided getting to know them.

I... I brought some water.

Do you know what they call you

four guys down at Battalion?

Sergeant's Four Horsemen.

I don't get it. You guys

lived through North Africa.

You didn't even get a scratch.

That's because replacements

keep getting hit instead of us.

You think...? You think

maybe I'll get it?

Why not? You something special?

I'll go get some, all right?

I'll... Excuse me.

Water.

You'll live, Smitty. You

did tripwire the mine.

They're not designed to kill

you, just to castrate you.

Castrate me?!

Hey, here it is. I found it.

- Oh, my God!

- It's just one of your balls, Smitty.

You can live without it.

That's why they gave you two.

They're supposed to

be coming this way.

Hold it up.

I said, hold it up!

I'm eating.

Okay, let's try this.

Come on.

- Keep an eye peeled for snakes.

- Yeah, and bats.

Bats? I love bats.

Sergeant, what's the

word from Headquarters?

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Samuel Fuller

Samuel Michael Fuller (August 12, 1912 – October 30, 1997) was an American screenwriter, novelist, and film director known for low-budget, understated genre movies with controversial themes, often made outside 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). He would continue to direct several other Westerns and war thrillers throughout the 1950s. Fuller shifted from Westerns and war thrillers in the 1960s with his low-budget thriller Shock Corridor in 1963, followed by the neo-noir The Naked Kiss (1964). He was inactive in filmmaking for most of the 1970s, before writing and directing the war epic The Big Red One (1980), and the experimental White Dog (1982), whose screenplay he co-wrote with Curtis Hanson. more…

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Submitted on August 05, 2018

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