The Steel Helmet

You've got to hand it to Fuller— by going to low-budget Lippert Pictures he got basically the unglamorous result he wanted. In the process, however, he had to sacrifice certain production values, but what he got in return was an unHollywood Gene Evans, a stunning statue, and an unconventional screenplay—all pretty cutting edge for the time.

Now, tough-talking, homely-looking army sergeants were pretty much a staple of the era, (think James Whitmore in Battleground {1949}). However, they usually took orders from a handsome leading man like Van Johnson, and so were clearly secondary, even if important, characters. Not so here. Sgt. Zack (Evans) leads the cast, takes orders only reluctantly, and deploys the patrol in combat situations like an officer. At best, he only tolerates his nominal superior, Lt. Driscoll (Brodie). I take it that Fuller is being as honest as possible about the often hostile relations between officers and enlisted men, especially intense (as I understand it) during WWII, which was Fuller's formative war experience. Driscoll may have the authority to give orders, but he has to earn Zack's respect -- an inspired use of the steel helmet symbolism.

Another major theme is Fuller's concern for racial equality, a touchy societal topic also ahead of its time. The concern for mutual help and understanding is obvious in the relationships Zack forms with the Korean boy (Chun) and the black corporal (Edwards). Zack doesn't pander to the black soldier, but he does treat him as just that, a medic and a soldier, no more and no less. Fuller also puts the needed equality in a larger, national context when the North Korean major (Fong) tries to drive a racial wedge between the diverse members of the patrol. In fact, communist propaganda was often successful in Third World countries when pointing out the widespread racial discrimination within American democracy. Thus, Fuller's implicit message was a bold and timely one for Cold War audiences.

It's also important, I think, to point out that Sgt. Zack is not particularly likable. He's ornery and unfriendly. Initially he tries to get rid of the kid, probably because he knows relationships in war can be risky. He doesn't want to get close to anyone. In fact, it's because he gets too close to the Korean kid that he makes a big military mistake by shooting the Red major. I like the way Fuller uses that blunder to bring Zack down a few notches. In effect, Driscoll expresses the officer's point of view by saying that because of his blunder, Zack is too dumb to be an officer. Whether true or not, the dressing down prevents Zack's character from being over-idealized, an important concession from a director clearly on the side of enlisted men like Zack.

Nonetheless, despite the quality of the story, Lippert productions remains a cut-rate affair. The outdoor action never gets beyond the tell-tale scrublands of greater LA, while the studio fog machine works overtime disguising the rickety exterior set. Still and all, the temple scenes are well mounted, and I don't know where they got that massive centerpiece Buddha, but it's impressive as all-get-out. The frozen smile remains a puzzle throughout the action, a fitting cosmic commentary, I guess, on the passing concerns of mortal men.

Speaking of Lippert, I felt a twinge of dread when I saw Sid Melton's name in the cast credits. He was responsible for much of that company's customary low-brow comic relief and I anticipated the worst. My guess is that Fuller okay'ed him for the film, but on condition he not be allowed to speak and risk his usual audience associations. After all, Pvt. Baldy (Monahan) is supposed to provide what chuckles there are. It's also surprising to see WWII's favorite sadistic Japanese officer, Richard Loo, in a sympathetic role for a change. Fortunately, it's one that also shows what a fine actor he was.

For all the movie's many merits, it still remains rooted in the cultural climate of WWII. Made at the outset of the Korean conflict, it betrays none of the ambiguities that would later surround America's involvement in that far-off land. The enemy is treated as straightforwardly wicked, and in a revealing piece of combat footage, mowed down in human waves. As a belated tribute to the dog-faces of WWII, Fuller pays his debt of respect and gratitude. However, this is a combat movie, and what politics there are reflect more about social conditions in the US than in Korea. Actual insight into the character of the Korean war only emerges later in such films as The Bridges of Toko-Ri (1954) and the much overlooked I Want You (1951). Nonetheless, Fuller proves himself here to be a doggedly independent filmmaker. More importantly, it also shows he's a filmmaker with something significant to say. And it's that important point on which his cult reputation rests.

I grew up with this movie, which was shown regularly on local television stations at a time when post-1949 films were scarce as hen's teeth on the tube. The film that put writer-director Samuel Fuller on the map, to the extent that he was ever there, it looks less impressive now, but I have a soft spot for it. It is the story of a group of infantrymen, many of them social misfits, during the Korean War, and their heroic efforts in defense of a Buddhist temple during a Communist-led attack. The major character in the film is Sgt. Zack, played to the hilt by a cigar-chewing Gene Evans, who never became a star but whose performance here is powerful and charismatic, flawless in every detail. I've never seen him in anything else where he's half as good as he is here. Evans carries the film like a super-star, and in Steel Helmet, for a short time, he is one. The others are good, too. Steve Brodie is less of a jerk than usual; James Edwards is very sharp, more assertive than in the previous year's Home Of the Brave, which he made with Brodie. As to the film itself, its qualities come from being a sort of tabloid journalist's work of art. It is weakest when preachy about race relations, strongest when men are arguing, shouting and competing with one another as if they had just stepped out of the pages one of those 'adult' comic books they used to have in barbershops. The movie's cheapness gives it a documentary look, and for once GI's in a film look dirty and unshaven. The scenes with the giant Buddha that dominates he temple's interior have an otherworldliness about them that seems serendipitous, not planned, and give the quieter scenes a background of serenity without which the picture might be intolerably violent and bitter.

Steel Helmet, The (1951)

*** (out of 4)

Fuller's grim Korean War drama follows Sgt. Zack (Gene Evans) and other rugged men as they take shelter in an abandoned Buddhist temple where they have time to reflect on what they're going in the war. Filmed in a reported ten days, this is one of those rare films that takes place during the war which it is showing. The movie doesn't really take a stance on either side of the line, although there's no question that Fuller wants to get his own ideas across. One of the best scenes involves a black man who is asked how he feels about having to fix these men up yet in the real world he wouldn't be able to sit at the same table with them. There's a lot of racial slurs thrown around at various people but this comes off very realistic as does the rest of the dialogue. You can listen to these men and actually feel like you're in the trenches with them as you'd be hearing this type of conversations. Another big plus is that the movie never paints a pretty picture, which was the type of thing we were use to seeing in war pictures from Hollywood. It's clear Fuller is doing things his way and he didn't care about criticism, which eventually came to the film. Evans delivers a fine and realistic performance as does the rest of the cast. The one negative thing was all the stock footage used at the end but the low budget probably required it. This isn't your typical war film but you can watch it and feel as if you're seeing an original. The influence on movies like FULL METAL JACKET, SAVING PRIVATE RYAN and Tarantino's recent are pretty obvious.

This movie feels a little dated but still powerful. Very evolved for a war movie of its time. Characters seem very real: the movie avoids stereotypes typical to war pictures. I thought the supporting characters were the strongest part of the movie. Manages to operate almost entirely independently of plot, focussing on character and situation instead. The very first scene is particularly arresting, and the abrupt beginning and partial ending are very effective at making the film feel real.

Ok, I've only seen three, but that does not change my standing.

The Steel Helmet tells of a group of infantrymen who have come together by literally running into each other by chance. They travel to a Buddhist temple to set up an observation post, but are soon surrounded by the Communist army. There is then a massive battle that is not exactly pretty for the Americans.

The story is good and moves along at a rate which will keep you intrigued, the battle scenes are very good, and I especially like the part where the medic takes off his helmet, rips off his Red Cross armband and fires the machine gun after the man that was operating it was killed. I wish this movie would come onto video or at least be shown on TV so I can tape it. 8/10