By Marsha Gordon
"Film is sort of a Battleground: Sam Fuller's conflict videos is the 1st ebook to target the style that top outlined the yank director's occupation: the warfare movie. It attracts on formerly unexplored archival fabrics, resembling Fuller's Federal Bureau of research documents and WWII-era novice movies, to discover the director's lifelong curiosity in making video clips representing warfare and conflict"--
summary: "Film is sort of a Battleground: Sam Fuller's struggle video clips is the 1st publication to target the style that top outlined the yank director's occupation: the struggle movie. It attracts on formerly unexplored archival fabrics, comparable to Fuller's Federal Bureau of research records and WWII-era beginner movies, to discover the director's lifelong curiosity in making video clips representing battle and clash"
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Additional info for Film is like a battleground : Sam Fuller’s war movies
Example text
The film ends with O’Meara accepting Yellow Moccasin’s verdict about his national affinity, acknowledging his inability to perceive the Sioux as other than himself. He quietly rides off from the Sioux territory wearing his Indian garb but leading wounded American soldiers into the distance as the camera cranes up to frame a final wide shot. O’Meara is now doubly alienated—first by the Yankees and then by the Sioux. He has legitimate claims to being an American as well as a Sioux, but he is also neither.
It is especially noteworthy that Lt. Driscoll has an official military role in the film and is explicitly tasked with coming to [ 28 ] Film Is Like a Battleground peaceable terms with the Sioux for the construction of a new fort, an order that he flagrantly disregards. In Run of the Arrow, as in all of his films, Fuller represents political situations as messy. In this way it is easy to see, even in this Civil War–era movie, why Fuller might have incurred disapproval in Washington for his films’ unconventional and even confounding politics.
Shot in low light with a dreamlike mood, O’Meara feverishly proclaims that he’s not an American, and later deliriously describes flashbacks about the war, giving voice to memories of losing his brother, father, and friends. This is a moving scene, in which O’Meara symbolically works through his shellshock, eventually emerging from the teepee to marry Yellow Introduction [ 27 ] Moccasin and adopt a mute orphan who has been her ward (Fuller’s interest in orphaned youth as innocent victims of war is in full flower here).