Retrospective Looks at Filmmaker's Blunt, Original Style

Article excerpt

SAMUEL FULLER, the director of "White Dog," has spent much of his career making "programmers" intended for double bills in drive-ins and other modest theaters, but has filmed them with such style and imagination that entire books have been written about his work.

Critics like to use the word "primitive" when describing Mr. Fuller's films - in the sense of "basic" and "not derivative" more than "crude" or "rough," although the latter adjectives aren't entirely out of place. Titles such as "The Crimson Kimono" and "The Naked Kiss" sum up the blunt impact of his style and his stories, which run the gamut from mystery yarn ("Shock Corridor") and war movie ("The Steel Helmet") to cold-war melodrama ("Pickup on South Street") and Freudian western ("Forty Guns)." What counts is the way Fuller has turned each of these genres to his own purposes. One commentator has compared his first picture, "I Shot Jesse James," with Carl Dreyer's masterpiece "The Passion of Joan of Arc," in terms of both visual concentration and dramatic intensity. …


An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.