somebody, please God, tell me that I simply missed the xixax sam fuller thread in my search for it. it cannot be possible that there simply is not a thread about this man. i fully agree with sir scorsese in saying that if you don't like the films of sam fuller, then you just don't like cinema. there's such a raw energy and exuberance behind his work, such a firm hand grasped tightly around your balls that doesn't let go until well after the film has ended. much of his work is oh so hard to find. criterion released three of his best: Pickup On South Street, The Naked Kiss and Shock Corridor (though Naked Kiss and Shock Corridor would benefit from a re-releasing), and there's some dvds available of a few other films of his like: Street of No Return, Dead Pigeon on Beethoven Street, Shark (but we don't need to talk about that), The Big Red One (the criminally truncated version - and this was the film he wanted to make all of his life too!)...I HIGHLY HIGHLY recommed you read his autobiography A THIRD FACE that came out shortly after his death in 1997. This man IS cinema. his life story is incredible too. the sights this man saw, the sounds he heard, the people he met for chrissakes! you get them all in that book, told with the wonderful, outspoken, tough-guy, cigar chomping voice of the GREAT Samuel Fuller.
His Films:
I Shot Jesse James (1949)
The Baron of Arizona (1950)
The Steel Helmet (1951)
Fixed Bayonets (1951)
Park Row (1952)
Pickup On South Street (1953)
Hell and High Water (1954)
House of Bamboo (1955)
Run of the Arrow (1957)
Forty Guns (1957)
China Gate (1957)
Verboten! (1958)
The Crimson Kimono (1959)
Underworld, U.S.A (1961)
Merrill's Marauders (1962)
Shock Corridor (1963)
The Naked Kiss (1964)
Shark! (1970) <------ his original title was Caine...but the financer's changed that and pretty much the entire movie without him knowing...
Dead Pigeon on Beethoven Street (1972)
The Big Red One (1980)
White Dog (1982)
Thieves After Dark (1983)
Street of No Return (1989)
Of these, I've seen Park Row, Pickup, Hell and High Water, Underworld USA, Shock Corridor, Naked Kiss, Shark!, Dead Pigeon, Big Red One, Street of No Return
I recommend you see ALL OF THEM except Hell and High Water (it's not that bad, but it's not true Sam Fuller, even he doesn't like it for that reason, it wasn't his story) and Shark! which was fucked around with so much that the movie is often embarassing to watch.
Sam Fuller was one of the great american storytellers of the twentieth century. he ate, slept, and breathed it. it was his life. this man is a personal hero of mine and I can't wait to hear your enthusiasms for he and his work in this thread (unless i get redirected!). i do know that there are some fans on this board. gush away!
EDIT - I just wanna add, several months later, that STREET OF NO RETURN is actually a pretty awful movie (i didn't mention that when i began the thread). i recommend you see it because of that. he manages a few great things in there, but it is almost embarassing to watch most of the time. i own it. i think it's important to own because even though made many many great films, he was also capable of something like this. he speaks very highly of it in his autobiography, too. it's really odd. i watch it every now and again and it absolutely fascinates me. the making of doc is great tho, it's about an hour of sam fuller chomping on a footlong cigar, talking about racial issues, people talking about how great he is, some behind the scenes footage, etc. so yeah, i guess my point is that a sam fuller dud is still worth seeing. his other films are solid though.
I like how the first words in every new thread are always like "Couldnt find a thread about this" Xixax gestapo is in full effect.
you bastard, the sight of a "reply" got me all excited
The only one I've seen is Shock Corridor, which I saw without any real preconceptions (other than the footage shown in The Dreamers), and it shocked me with how bizarre it was. On the one hand, the mystery and the reporter's plan for solving it is clunky and kinda silly. But that's just an excuse for a really amazing descent into madness...it's really effective as far as that goes, and the occasionaly appearance of color footage was a stroke of genius. It's a pretty vivid and unforgettable film.
I hope to catch The Big Red One's re-release soon, if it ever makes it my way...
the only one I've seen is The Naked Kiss, which I saw without any real preconceptions (other than the footage shown in Scorsese's Journey Through American Movies which made me want to see it) the opening scene of the film, with its handheld camerawork and when he pulls the girls wig off (!) wow. i knew right off the bat, i was truly in for something different. i could sense that tarantino must love this guy. some of it seemed a little dated but i overall really enjoyed the film.
i hope to catch Shock Corridor and Pickup on South Street sometime in '05 when i have time.
The only one I've seen is Pickup on South Street which is beyond awseome as far as classic film noir goes. I have it The Criterion version of it and it's fantastic. Looking forward to seeing some of his others next year.
I've seen as many Fuller films as I feel I can so basically, I've seen and own all the Criterions. The Big Red One is getting released finally in a better version though its a shame the final cut is likely lost or worst, being ignored for no reason. House of Bamboo will be released next year in the much hyped Fox Noir Line. Of the three, Shock Corridor is by far my favorite. Pure pulp, but so much angst, rebellion and heart ache that by the end of reading Fuller's auto biography, I couldn't help but think that film best captured the frenzy of his own mind. You just end up loving Sam Fuller as a person. Comparing Shock Corridor and Naked Kiss to Pickup on South Street is really comparing two different type of approaches. Pickup is classic noir, Shock and Naked pure pulp. There are some harder to find dvds out there and I'm trying to get them. Actually I'm just trying make some hedway on a collection outside the usual considering it feels like Criterion was just my introduction to all these type of films.
Entertainment Weekly reviewed the big red one (better version) in the new issue...
The Big Red One
Reviewed by Owen Gleiberman
Some films are better in theory than reality — like, say, Sam Fuller's The Big Red One. In 1980, Fuller, the cigar-chomping director of such rousingly pulpy and far-fetched B movies as Shock Corridor and House of Bamboo, made a World War II epic drawn from his own combat experiences. It was acclaimed for its anecdotal "realism," but it was also drastically reedited by its studio, Lorimar. Now, the full 158-minute version of The Big Red One has been reassembled, restoring a gritty gem of offbeat Hollywood classicism to its full glory.
At least so goes the theory. If you choose to see The Big Red One, there are certain things you should prepare for. The American platoon is filled with incongruously nonchalant young actors like Mark Hamill, who gawks, and Robert Carradine, who smirks, all the while delivering cornball-tough dialogue that makes them sound less like hardened grunts than the Jets and the Sharks. The battle scenes, with their greasepaint grime and badly lit prop rubble, practically seem to be taking place on stage; they have no terror, no existential grip. As the film sprawls from Africa to Sicily to Omaha Beach and beyond, it's formless in the worst way: a rough cut in search of a design. Did I mention the effeminate Nazi who coos, "I adore supermen"?
Lee Marvin, it must be said, is terrific as the platoon commander (his burnt-tobacco growl is the essence of pitiless male nobility), and Fuller deserves props for the film's one sustained sequence: the D-Day attack, in which the platoon gets pinned on the beach for a hellish eternity. If you don't elect to watch The Big Red One through the lens of Sam Fuller's mystique, however, you'll realize that it has been celebrated in ways that essentially make virtues of its flaws.
Grade: C
Quote from: themodernage02Now, the full 158-minute version of The Big Red One has been reassembled, restoring a gritty gem of offbeat Hollywood classicism to its full glory.
he doesn't even know what he's talking about.
and it's useless to complain about the battle scenes in this film. fuller was given a budget practically equal to what i spend on gas each week, it's not those scenes that make this film great. it's scenes like
SPOILERS
the birth inside the tank
the little boy who wants his mother buried
mark hamill finding the nazi officer hiding amongst human bones in the oven at the concentration camp
lee marvin assuring the soldier who stepped on the mine that he can still start a family with only one testicle
disregard that review.
I've only seen white dog, but i really really want to see naked kiss.
how did you see white dog?
case anyone's interested, here's a good little interview with him, compiled from several interviews conducted in the mid-seventies:
http://www.imagesjournal.com/issue10/features/fuller/
Quote from: ewardhow did you see white dog?
on the TV, why?
lucky bastard. i asked because it's extraordinarily hard to find, being that jeffrey katzenberg refused to release it because some people were uncomfortable with what it was about (i don't even think they had seen the picture)...was it good?
Man, I had no idea, I hope i didn't tape over it, since it's rare and all. I don't understand why the fim wasn't released... because it deals with racism in america? ...Anyway, I liked it, it's not great but it's a well made low budget film with a nice score by morricone and some memorable shots (the last shot of the film is just fantastic).
i think they found the film itself racist given that it was about dogs trained to attack blacks. god forbid they actually see it for themselves though.
that's truly retarded. it's like saying schindler's list is fascist propaganda given that it's about nazis concentrating and killing the jews.
we just learned about sam fuller in class today and i got really interested in him. we're going to be watching pickup next tuesday and then i plan to watch a shitload of his films over xmas break (however, anytime i plan to watch a shitload of films, i end up watching only 3).
Title: The Big Red One
Released: 3rd May 2005
SRP: $26.99
Further Details
Warner has officially announced a two-disc special edition of The Big Red One which stars Lee Marvin. "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 admired war film into an epic masterwork. Lee Marvin, in a richly layered performance now revealed as one of his finest, stars as the sergeant of peach-fuzzed riflemen fighting from North Africa to Normandy and across Europe. The film is the squad's combat diary, war as it's fought and sweated and bled, and, maybe, survived. As well as a 1.85:1 anamorphic widescreen transfer and English Dolby Digital 5.1 track, the disc will include an audio commentary, documentaries, additional scenes, a photo gallery and a TV spot. Artwork is VERY COOL at the link below: http://www.dvdanswers.com/index.php?r=0&s=1&c=5807&n=1&burl=
yeeeeesss!
also, fox will release forty guns this year. $14.95 is likely retail price. seriously, this may be the title to get for all fuller fans.
i actually saw forty guns a couple of days ago on vhs and it was really really great. do you know of any possible date yet?
and i also wanna say, that for all fuller fans, PARK ROW is definitely the title to get, if it ever gets fucking released to dvd!!
Quote from: ewardi actually saw forty guns a couple of days ago on vhs and it was really really great. do you know of any possible date yet?
May 24th.
Quote from: The Gold Trumpetfuller fans.
Quote from: ewardfuller fans
i'd like to know where these people you guys are talking about are located, because there only seems to be about 5 of us in the thread so they sure aint here! :yabbse-wink:
ahh, it's their loss, right?
great artwork here for The Big Red One:
http://www.dvdanswers.com/index.php?r=0&s=1&c=5807&n=1&burl=
Quote from: The Gold Trumpetgreat artwork here for The Big Red One:
http://www.dvdanswers.com/index.php?r=0&s=1&c=5807&n=1&burl=
yeah i think mod already showed us that..
Quote from: cinephileQuote from: The Gold Trumpetgreat artwork here for The Big Red One:
http://www.dvdanswers.com/index.php?r=0&s=1&c=5807&n=1&burl=
yeah i think mod already showed us that..
I missed it
but we can all agree that it is pretty great.
all us fuller fans, anyways.
it'll grow, believe you me.
I haven't seen any of Fuller's work but this thread got me excited about him. I just ordered Criterion's Pickup...and I can't wait to read his biography and watch:
Tigrero: A Film That Was Never Made - By Mika Kaurismäki
In 1954, legendary filmmaker Samuel Fuller was sent by 20th Century Fox to the most remote regions of the Amazon to scout locations for his upcoming film TIGRERO!, a rousing adventure tale that was to star John Wayne, Ava Gardner and Tyrone Power. Fuller brought with him 75 cigars, two cases of whiskey, a gun, and a 16mm camera. There Fuller befriended the Karaja Indians, lived with them, and photographed their ceremonies and way of life. Reluctantly, Fuller returned to Hollywood but the film was never made.
Forty years later, Sam Fuller returns to the Brazilian jungle, bringing with him his friend and fellow filmmaker Jim Jarmusch, a camera crew and the footage he'd shot those many years earlier. The ultimate storyteller, Sam tells Jim about his time with the Karaja, his career in Hollywood and his unique philosophy of life. They show the Karaja the footage Sam shot, conjuring up their friends and loved ones, some who's faces they haven't seen for decades. TIGRERO: A FILM THAT WAS NEVER MADE is priceless travelogue, a meditation on the power of film and the magic of memory, and a loving portrait of a gentle and spiritual culture.
tigrero is awesome, enjoy the fuck outta that one kotte.
I'm not the biggest fan of Pickup as others are. I'll choose Shock Corridor and Naked Kiss, two of his grittier indie films, anyday. Pickup is a decent enough film, but it never really brings you to the temperature that Fuller is capable of the way those other two do.
Quote from: ewardtigrero is awesome, enjoy the fuck outta that one kotte.
I sure will...
I hope Pickup is a good place to start exploring Fuller. I chose between that one and Naked Kiss.
personally, i prefer naked kiss but you can't go wrong with pickup no matter where it lands.
Big Red One had a huge impact upon me when I first saw it in 1980. I was 18, and the main characters were in that age range. It made me wonder how I would handle the stern test of battle. It also made me think about what my father went through in WWII. I had never talked to him about it, but the film made me appreciate what he had been through.
I love the understated, matter of fact style of the film, leading up to the powerful concentration camp scene, in which Mark Hamill's character finally learns what the war is about, that some causes are worth fighting for.
If anybody plans on being in Lisbon towards the end of the month, there will be a screening of "The Big Red One - The Reconstruction" (director's cut) on the 23rd and the 29th at the Indilisboa film festival.
www.indielisboa.com
So I saw The Big Red One yeaterday. It's so good! really, I very very rarely enjoy a film as much as I did this one. It will surely be a favourite for years to come. Never having seen the film before, I don't know which scenes were new and which weren't, but, to me it was a perfect film, and to cut anything from it wouldn't do it good. I'm more looking forward for this dvd than anyother film released this year.. or last year.
amen to that. the restored version is a masterpeice. i forgive the truncated version of its few dramatic shortcomings simply because it was butchered. hopefully, those idiots who title it the worst war picture of all time (and there are quite a few) will shut their mouths when they see this one. it baffles me as to why they would even open their mouths in such a way to the truncated version, but i won't get into that again.
i'm invited to a screening of this tomorrow night but i have to work. :(
Join Warner Home Video and special guests Pamela Marvin, Mark Hamill, Robert Carradine, Kelly Ward, Bobby Di Cicco, Perry Lang, Christa Fuller and Richard Schickel for the Charity Premiere Screening of director Samuel Fuller's THE BIG RED ONE: THE RECONSTRUCTION.
damnit.
why in the fuck aren't you calling in sick or simply quitting?
Quote from: ewardwhy in the fuck aren't you calling in sick or simply quitting?
he considers spending time with his girlfriend "work".
'Big Red One' gets bigger
The Big Red One — Special Edition Source: Los Angeles Times
SAMUEL FULLER'S 1980 World War II epic "The Big Red One" (Warner Home Video, $27) is bravura filmmaking. It's action-packed, engrossing, dramatic, funny. The performances are strong, and Fuller, who was a member of the First Infantry Division, a.k.a. the Big Red One, stages the combat sequences beautifully.
But the film was heavily diluted when it was released 25 years ago. Lorimar, the now defunct studio that produced it, cut nearly an hour out without Fuller's blessing or guidance. For years, rumors circulated that the excised footage still existed, and when Warner Bros. found a promotion reel for the film in its vault in 1999 that included numerous scenes not featured in the release print, it was decided to try to restore the movie, bringing it as close as possible to the late director's vision.
A former journalist, the scrappy, maverick writer and director made several hard-hitting, uncompromising "B" movies in the 1950s and early '60s that critics adored and that have inspired today's filmmakers. Such films as "The Steel Helmet," "Fixed Bayonets!," "Pickup on South Street," "The Naked Kiss" and "House of Bamboo" buoyed his career.
But by the mid-1960s, his prospects began to fizzle. He directed for TV, moved to France, even acted in other directors' films. "The Big Red One" was supposed to be his comeback.
Shot for just $4 million on a short schedule in Israel, "Big Red One" is based on Fuller's experiences with the First Infantry. It follows a grizzled sergeant (Lee Marvin, in one of his most full-blooded performances) and the four young men of his rifle squad (Mark Hamill, Robert Carradine, Bobby Di Cicco, Kelly Ward) for the three years they are together on the European front during the war. They land at Omaha Beach on D-day. Fight the Battle of the Bulge. Liberate a concentration camp. And despite the carnage and destruction, the squad makes it through the war unharmed.
Fuller, who died in 1997 at 85, appears in a restored scene as a newsreel photographer.
Extras: The two-disc set is one of the best-produced digital editions of the year and adds immeasurably to the viewing experience. The first disc includes informative commentary from film critic and scholar Richard Schickel, who produced the reconstruction. The second DVD contains a new full-length documentary, "The Real Glory: Reconstructing the Big Red One," which features candid, funny interviews with the cast, as well as a detailed look at how the film was put back together like a big jigsaw puzzle. There are restoration comparisons and alternate scenes that for various reasons were not part of the reconstruction, the 1980 promo reel that kicked off the restoration, and a vintage War Department featurette on the real Fighting First, as well as Schickel's documentary "The Men Who Made the Movies: Samuel Fuller."
What I love about Fuller is that he considered himself a storyteller above filmmaker (my impression. Please don't ruin it for me). He loved filmmaking and writing but that was just methods or ways for him to tell his stories. Storytelling is the art. The camera, the pen, the brush, the guitar...they're all just tools.
We care too much about things that don't matter when filmmaking is really all about telling a good story.
Enough pretentious blah blah...
eward, tell me more about Tigrero?
I just can't afford it right now and I wanna revel in my moneyless existens.
in tigrero, fuller and jarmusch travel back to an area in some jungle where fuller had gone about forty years before and shot alot of good footage (some of which appears in SHOCK CORRIDOR) and lived with a tribe, etc...i wont really tell you much else, but its good. im not a fan of jarmusch as a filmmaker, but he's really funny alongside sam.
I just got through watching White Dog after wanting to see it for many, many years. Holy crap- what a disturbing, DISTURBING movie.
This is my first exposure to Sam Fuller, and I have to say, I think I'm a fan already. His whole depiction of idealism in a savage, brutal world reminded me a little bit of David Lynch or Larry Cohen, but with ZERO humor to cut the tension. The acting was a little hammy at points, but in a B-movie that's not usually a bad thing. Some of the visuals were absolutely inspired... someone upthread mentioned the last shot of the movie, and that one got to me, too. (As well as tricks like the war movie (was that one of Fuller's own?) playing too loud on the TV during the attempted-rape scene... unnerving and brilliant.)
How this movie was found to be unreleasable in the U.S. is absolutely beyond me. This movie is so completely ANTI-racism, and manages to be so in a gritty, non-preachy, at times depressing way, one that asks as many questions as it answers. Highly, highly recommended.
2LB
PS- I have a question for anyone who has seen the movie. Spoilers below the next line:
SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER SPOILER
WTF did the dog attack Burl Ives at the end? Was that just a random "twist ending" or was it meant to show... I dunno, how hard it is to un-teach someone savagery? That threw me off a little bit.
Just watched "House Of Bamboo" tonight, and saw "The Naked Kiss" a few weeks ago. Sam Fuller has become one of my favorite directors. Wow.
Unlike a lot of the directors I like, Fuller is so UN-gimmicky... he seems to be all about propelling the story forward, although he has such a GREAT eye for bizarre, off-kilter scenes that will stick in your mind. The first scene of "The Naked Kiss" is one example (I suspect y'all already know it so I won't go into it here), the first robbery in "House Of Bamboo" is another... the main characters (a bunch of hoods, plus our hero Robert Stack) hold up some kind of industrial site in Tokyo, masking their flight with smoke pots they stole earlier in the film. There were several shots of the fedora'd, trench-coated hoods running between clouds of billowing white smoke, huge chemical tanks in the background, that I will never forget. Totally iconic.
The whole homo-erotic thing between Roberts Ryan and Stack (it seemed to be mostly one-directional) was FASCINATING to me, especially for a flick done in the 50s.
I started with Fuller just because I was curious about "White Dog" (described upthread), but like I said, he is fast becoming one of my favorite directors.
Forty Guns is the shit.
Quote from: samsongForty Guns is the shit.
another well written samsong review.
A Second Look: Fuller's 'White Dog'
The controversial 1982 film about a German shepherd taught to attack black people is released on DVD.
By Dennis Lim; Los Angeles Times
A cigar-chomping newspaperman turned two-fisted pulp auteur, Samuel Fuller (1912-1997) never had much use for subtlety. His signature style -- lurid, didactic, in-your-face -- would seem to leave little room for ambiguity. But because Fuller's films were often more complex than his tabloid sensibility suggested, he spent a good deal of his career being misunderstood and battling controversy.
His breakthrough film, 1951's Korean War drama "The Steel Helmet," was labeled pro-Communist for depicting racism within the ranks of the U.S. Army. Although considered red-baiting propaganda by some, his Cold War-era noir "Pickup on South Street" (1953) was famously singled out for condemnation by J. Edgar Hoover, who deemed the Richard Widmark character insufficiently patriotic. But no Fuller film whipped up a bigger storm than "White Dog" (1982), his stark moral fable about a racist German shepherd.
With the threat of a boycott looming after the NAACP took issue with the premise, the film's studio, Paramount, deemed it unfit for both theatrical and home-video release. It was Fuller's last Hollywood movie and has been largely unseen outside of a brief belated run in 1991 and occasional late-night TV airings. It finally makes its DVD debut this week, courtesy of the Criterion Collection.
"White Dog" came with an intriguing pedigree. It was based on the 1970 book by Romain Gary, a semiautobiographical novel in which the French author and his wife, actress Jean Seberg, encounter a stray dog that has apparently been programmed to attack black people on sight. Gary's book evolves into a wide-ranging meditation on race relations in this country, drawing on the queasy mood of late-'60s, newly post-civil-rights America and explicitly discussing Seberg's involvement with the Black Panthers.
The idea for a movie adaptation had floated around Hollywood for some time; Roman Polanski and Arthur Penn were among the directors previously attached.
When the project landed with Fuller, who had worked infrequently since the mid- 1960s and whose previous film, 1980's "The Big Red One," was butchered by the studio, he revised the script with his friend Curtis Hanson, who had worked on an earlier version.
Fuller's movie preserves the thematic kernel and the Hollywood Hills setting of Gary's novel, but few of the details remain. The female protagonist, the canine's adoptive protector, is still an actress (played by Kristy McNichol), though not an activist or movie star. A central character, the black animal trainer who tries to re-educate the dog, has been substantially altered. In the novel, he retrains the dog to attack whites; the trainer in the film (Paul Winfield) is a nobler figure, driven to cure the savage beast, whose racism he views not as something to be stamped out but unlearned.
The white dog registers as a flesh-and-blood creature as well as a free-floating metaphor. And while both Gary and Fuller make the point that racism is not innate but taught, they arrive at different conclusions when pondering what it means to reverse it.
In its blunt, bludgeoning way, "White Dog" ranks among the toughest and most probing examinations of racism in American cinema. Fuller's brute-force direction gives this outrageous allegory the hyperbolic treatment it demands. The attacks are sudden and sickening, staged for maximum horror and typically accompanied by Ennio Morricone's weeping strings -- the most shocking of the hate crimes takes place in a church, beneath a stained-glass window of Francis of Assisi, patron saint of animals.
The Criterion disc features video interviews with Hanson and producer Jon Davison, but the most telling extra, reprinted in the booklet, is a 1982 piece by Fuller, conceptualized as an "interview" with the film's canine star. In this alternately funny and sobering mock-Q&A, the white dog stresses repeatedly that it was a man who made his character a monster ("Man is capable of hatred. Animals are not") and, in fluent Fuller-ese, turns the tables on his director: "Doesn't your world make you want to vomit?"
Can't believe I never posted anything on this thread.
Fuller is masterful. And I personally love the way he talks and comes across in interviews. there's a true filmmaker for you.
From what I've seen of him, is hard to pick a favorite. Shock Corridor, maybe. But Pick up on South Street is so beautifully shot and it's just perfect, not one second wasted. that film should be shown to every aspiring screenwriter and filmmaker and how to do EVERYTHING right.
http://trailersfromhell.com/blog/2011/06/02/watch-immediately-sam-fullers-screen-test-for-the-godfather-part-2/
"That's Samuel Fuller reading for the role of Hyman Roth in Francis Ford Coppola's The Godfather Part II. Sure, Sam Fuller made a cameo (sometimes extended cameo) or two in his time, but never for something quite like this. While the role ultimately went to Lee Strasberg (who was Academy Award nominated for Supporting Actor trophy), it's fun to watch this and imagine Samuel Fuller living it up in Cuba or twisting Fredo to break Michael's heart. Very cool stuff here."
That's a great video to watch. Fuller had the personality and ability to have done more acting roles. Just never came his way and considering his demeanor is so hospitable, it's a small shame.
Sam Fuller's Lost Novel 'Brainquake,' Coming To Shelves In 2014
via The Playlist
While Sam Fuller is best known for being the filmmaker behind such classics as "Naked Kiss," "Pickup On South Street," "Shock Corridor," "The Big Red One" and more, he was also an author. Not only did he pen novelizations for some of his films, he also wrote a small handful of original works too, and one that has never seen the light of day in the English language is now coming.
Titan and Hard Case Crime are bringing "Brainquake" to shelves this September. It was penned by Fuller while he was in self-imposed exile in France, fighting with Paramount over the cut of "White Dog."
The bagmen who transport money for organized crime live by a special set of rules: no relationships, no ties...no alcohol, no women...no talking...and never, ever look inside the bag you're carrying.
For more than ten years, despite suffering from a rare brain disorder, Paul Page was the perfect bagman. But that ended the day he saw a beautiful Mob wife become a Mob widow. Now Paul is going to break every one of the rules he's lived by to protect the woman he loves—even if it means he might be left holding the bag...
(https://xixax.com/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FvK4pvqS.jpg&hash=1577a0df44db316254859595bffae2a91758c2ae)