The director Quentin Tarantino called “the king” of war movies
Quentin Tarantino, the enfant terrible of modern cinema, is known for his eclectic tastes, drawing inspiration from various movie genres and directors. While his own movies are a pastiche of multiple styles and themes, Tarantino’s admiration for certain filmmakers is often evident in his work. Among the pantheon of directors he reveres, one in particular holds a special place. In fact, Tarantino has gone so far as to call him “the king” of war movies.
But who was he? And what made him a monarch in the realm of wartime cinema in Tarantino’s eyes? The director, Samuel Fuller, began his storytelling career as a crime reporter in New York but whose service during World War II profoundly shaped a cinematic vision. Experiencing the horrors of war firsthand, Fuller would later channel these experiences into his movies, crafting visceral, unfiltered narratives that took viewers to the frontline.
Fuller’s approach to war movies was raw and unapologetic. His films, such as 1951’s The Steel Helmet and Merrill’s Marauders in 1961, showcased his unique storytelling style and ethos. Unlike many directors of his time who presented war with a sense of grandeur or strategic brilliance, Fuller utilised epic production value and widescreen photography to delve into the psyche of the common soldier, portraying the fear and the harrowing reality of warfare.
The Steel Helmet, which remains one of Fuller’s most lauded efforts, was the first American movie to ever deal with the Korean War. It confronted racial prejudice head-on and showcased the gritty, unvarnished nature of combat. Fuller’s first-hand experience as a soldier provided authenticity to the movie, making it resonate deeply with veterans and civilians alike.
Then came The Big Red One, a semi-autobiographical account of Fuller’s own experiences in WWII. Starring Lee Marvin and a young Mark Hamill, the film became an instant classic, shocking and stirring audiences with its sprawling tale that followed ‘The Big Red One’ squad from North Africa to Sicily, France and Germany. Using an opening that Tarantino himself could have written, it begins with a flashback to WWI, where a terrified soldier murders a surrendering German – only to be told moments later that the war had ended four hours ago.
Beyond the visceral representation of war, Fuller’s movies are laced with intricate character studies. Tarantino, known for his vibrant, distinct and often flawed characters, likely sees in Fuller a kindred spirit. Both directors share a penchant for exploring the ‘grey’ areas of morality and the hideous consequences of violence through a rich and three-dimensional cast. Tarantino would continue incorporating these elements, particularly a stunning opening sequence, in his ode to war movies, 2009’s Inglorious Basterds.
In a time and industry that often sanitised war, Fuller stood out with his brutally honest portrayals. And for Tarantino, himself a disruptor in modern cinema, the appeal of Fuller’s unflinching style is clear. By crowning Fuller as “the king” of war movies, Tarantino pays tribute to a director who, like him, was never afraid to push boundaries in pursuit of brilliant cinema.
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