Steiner - Das Eiserne Kreuz

Cross of Iron is probably the second best film made by Sam Peckinpah, rivalled only by The Wild Bunch. It is a war film shich follows a unit of German soldiers as they escape from the front line as the Russians smash through their ranks. This was perhaps the most devastating line to be fighting on during World War Two, and as expected there is a lot of death and gore, not to mention filth, sweat and treachery.

James Coburn plays a German soldier with an almost God-like air of invincibility about him. He is not a comic book creation, but a hardened soldier who terrifies everybody, including his commanding officers. Max Schell plays a commanding officer who wants an Iron Cross, despite the fact that he a coward, and will go to the most treacherous lengths to get it.

This is an upsetting and unflinching film. It pre-dates Saving Private Ryan by two decades, yet is just as detailed and frightening, just as bloody, and maybe even better.

Anyone yet to see Cross of Iron must do so as soon as possible. It is one of the great war films, and an unforgettably chilling experience.

"Cross of Iron" was Sam Peckinpah's only war movie. It deals with a company of German soldiers retreating through Russia at the close of Hitler's ill-fated Russian campaign. Unusual for a war film, the story is told from the German point of view. Being a Peckinpah film there are explosions and blood-spurting bodies a-plenty. The rough terrain and cramped quarters that the soldiers have to deal with lend well to the declining German fortunes in Russia. As in his other films, notably "The Wild Bunch", Peckinpah utilizes his now famous slow-motion technique to illustrate the violence and show the effects of the destruction. James Coburn stars as the battle wise Sgt. Steiner who has survived the war thus far by his wits. Maximillian Schell plays his aristocratic Captain whose main goal is the pursuit of the Iron Cross, Germany's highest decoration and who will go to any lengths to get it. James Mason is the Company commander and David Warner is his adjutant. Coburn is excellent in the lead who continues to do his duty in spite of the inevitability of impending defeat. Schell is suitably ambitious and cunning as the chief villain and Mason and Warner convey the hopelessness of the situation while maintaining stiff upper lips. "Cross of Iron", in it's uncut version (132 minutes) ranks as one of the greatest of all WWII films in my opinion. One of Peckinpah's best.

Cross Of Iron is a masterpiece, one of the greatest anti-war, anti-authoritarian movies. It is one of director Sam Peckinpah's two finest works -- the other being The Wild Bunch. It deserves to be ranked in the same great war movie company as Apocalypse Now, Das Boot, Full Metal Jacket, Paths Of Glory, Saving Private Ryan, Seven Samurai, and Zulu. Its setting on the World War Two Eastern Front, its gruesomeness, and its risk-taking viewpoint on ugly combat from the German side, have tended to count against fair assessment of its considerable artistic achievements. Viewers wary of the morality of its German viewpoint and its explicitness might find that it is fundamentally about humanity in general as a victim of war. The film reflects on the humanity which may be found on all sides of conflict--including Russian humanity portrayed variously as relentless, innocent, brave, and feminine.

Cross Of Iron opens with an intense, chilling montage of nursery rhyme, propaganda, combat newsreel and atrocity. By the end of the main title the montage subtly introduces the central characters, a German reconnaissance unit patrolling on the 1943 Russian front.

This 1977 film set rarely matched standards of cinematic mayhem. Cross Of Iron explosions don't look merely like pretty fireballs -- they blast fragments, rocks and debris, leaving no doubt as to why blood gouts from stumps of limbs and shrapnel-shredded entrails. Amid the screams of wounded and dying, as dust subsides from a mortar barrage, an artillery piece shorn of its crew by a near hit swings across a pocked battlefield, its traversing wheel spinning under its own momentum. The carnage occurs in the choreographed slow motion which Peckinpah made his signature.

James Coburn turns in one of his finest roles as Rolf Steiner, a highly decorated NCO who leads a German reconnaissance squad. Steiner fights less for his country than for his comrades. He has low opinions of class and rank distinctions. He is contemptuous both of Nazism and the aristocratic Prussian arrogance of his new superior officer, Captain Stransky, played with great style by Maximilian Schell. But there are hints of a dark side. Although Steiner is articulate and philosophical he has no answer when his love interest during an enforced break from battle, nurse Eva (Senta Berger), bitterly accuses him of being afraid of what he would be without the war.

Among the many fine supporting performances, James Mason plays the war-weary Colonel Brandt. He sees the immorality and futility of German war aims, but his sense of honour and duty about the prevailing struggle makes ceasing to fight unthinkable. David Warner plays Brandt's out-of-place and out-of-time adjutant, Captain Kiesel, who represents to his colonel the hope that a more enlightened postwar Germany might arise from the ashes of inevitable defeat.

War movie buffs irritated by the technical inaccuracies common in many examples of the genre will find some satisfaction in attention to authenticity of weaponry. A range of genuine WWII German and Russian small arms appears. The T 34/85 tanks are real, although the very picky might argue that this is at least six months premature, and that for the summer of '43 they should be T 34/76. Tactics at times deviate from the textbooks, but this is a drama, not a combat manual.

At the time of writing, this great film of a great American director lacks the high quality collectors' edition Zone 1 DVD release it deserves. The Warner Home Video Zone 2 release available through www.amazon.co.uk has the high quality video and sound which have been missing from the non-studio Zone 1 releases. This film is a must-have for war movie fans.

Update as at September 2011: It appears that only the DVD and Blu-ray releases of this film for the European market - notably those published by Studio Canal - are good quality transfers, as well as being in the original widescreen aspect ratio. Studio Canal's Blu-ray release (encoded for Region B only) is significantly better even than their DVD. It shows so much more detail compared to the DVD releases, for example, that the lettering and designs of German military awards like the Krim and Kuban Shield shoulder insignia can be seen clearly on screen, and wine and beer bottle labels are easily read. The Blu-ray is available from Amazon.co.uk, but can be played only on Region B-capable Blu-ray decks. Extras on this Blu-ray include a gem, a documentary by Mike Siegel called "Passion & Poetry - Sam Peckinpah's War". This gives fascinating insight into the making of "Cross of Iron" and Peckinpah's directorial style through contemporary and later interviews with James Coburn, David Warner, Senta Berger, Maximilian Schell, Roger Fritz, Vadim Glowna, Katy Haber and Peckinpah himself. It includes a shot of Peckinpah reminiscing proudly about receiving a telegram from Orson Welles saying it was 'one of the finest war films ever made'.

I can't add much to these reviews except to comment that I've found this film to be a great favourite among real soldiers. I once got to deliver the classic line to a Major and a Captain about hating all officers. Luckily(?) they knew I was quoting from the film!

I'm not bothered about the assortment of accents in the cast (that others have mentioned). It seems to me that if you believe in their situation and have immersed yourself in the film, as it was easy for me to do, then you don't even notice them after a while. I would argue that the cast (in terms of dialogue) in Private Ryan is far more of a problem, since these seem to be 1990s guys transported back to 1944 and are far too 'knowing'. Moreover, in Private Ryan I kept stepping back from the film feeling that I was simply being manipulated by the director. COI is far more chilling. I really liked (if that's the word) a scene where an artillery explosion killed both Germans and Soviets. Kind of emphasises the 'war is hell' message without preaching or being manipulative.

I think Steiner is one of the greatest military characters ever to appear on film (for what its worth, Gregory Peck as Savage in Twelve O'Clock High, and Jeff Daniels as Chamberlain in Gettysburg are also up there). I must say I didn't really like the ending, but I can't suggest a better one, but as an alternate "ending" I would certainly recommend that people *do not* see the awful sequel 'Sergeant Steiner' with Richard Burton(!) as Steiner.

I first saw this movie when I was very young and it has since then remained as one of the best movies I have seen and perhaps the best war movie ever. My grandfather fought and died in the useless war against the Russians in 45 and one of my uncles as well as my mothers father were both veterans of those battles. The Germans who fought alongside the Finns in World War II were not heartless nazi monsters or a band of murderous aryans - they were men who had been taken from their homes to fight a pointless war which destroyed everything and gave nothing. Peckinpah portrays this in a truthful way when the German patrol tries to make its way back to their army group. The scene where Anselm rips a Russian female soldiers shirt in an attempt to rape her before being stopped be Steiner is something never before or after seen in a movie - a seemingly friendly and well behaving man turns into a beast when he sees a woman from the enemy army. War is hell and it brings out the best and worst in us - something that Hollywood should remember before making the next Saving Private Ryan.