Forty rifles

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Movie
German title Forty rifles
Original title Forty Guns
Country of production United States
original language English
Publishing year 1957
length 76 minutes
Age rating FSK 16
Rod
Director Samuel Fuller
script Samuel Fuller
production Samuel Fuller
music Harry Sukman
camera Joseph F. Biroc
cut Gene Fowler Jr.
occupation
synchronization

Forty Guns (original title Forty Guns ) is an American film by Samuel Fuller from 1957 . In this western , Barbara Stanwyck plays the ruthless landowner Jessica Drummond, who falls in love with US marshal Griff Bonnell ( Barry Sullivan ) who is on the hunt for her brother. Characteristic for the film are the thematic connection of sex and violence and a staging that is free in its cinematic means .

action

Tombstone in Cochise County , Arizona , in 1881: The landowner Jessica Drummond ruled the area with her retinue of 40 horsemen, the "Forty Rifles," including judges, officials and Sheriff Ned Logan. Former gunslinger and now US marshal Griff Bonnell comes to town with his brothers Wes and Chico to execute an arrest warrant against Howard Swain, a man in Jessica's entourage. Tombstone is terrorized by Jessica's younger brother Brockie, who, while drunk, shoots the fearful and nearsighted Marshal Chisum, a friend of Griff's old days. Griff catches Brockie, knocks him down and has him locked up. Jessica comes to town with her riders to free her brother. With the help of the compliant Sheriff Logan, Brockie is released on the spot. Wes has since made friends with Louvenia Spanger, the local gunsmith's daughter, and plans to stay in town longer.

Griff drives to Jessica's property, where she is having dinner with her 40 husbands, and arrests Swain. Jessica, impressed by Griff, offers him Logan's job as sheriff in a private conversation, which Griff refuses. Swain, now in jail, threatens Logan to blackmail Jessica if she doesn't see his release immediately. Shortly afterwards, Swain is shot through the cell window. The bullet that killed him is attributed by Louvenia to the best shooter in the area, Charlie Savage. Logan confesses to Jessica that he started the murder to protect her, but Jessica angrily sends him away.

When Griff visits Jessica again, the two are surprised by a hurricane. Jessica falls off her horse and the two of them find shelter with difficulty. When the storm has subsided, the two get closer. She tells him her life story; how the untimely death of her father has forced her to quickly show business and personal hardship. Disillusioned, she realizes that the frontier , the border area, no longer offers her a challenge. She wants to give up her old life and calls on Griff to do the same and lay down his weapon. Logan and Savage try to lure Griff into a trap in town. Just as Savage is about to shoot from an ambush on Griff, he is shot by Chico, the youngest of the Bonnell brothers, who secured his brother without his knowledge. Brockie drapes Savage's body in the undertaker's window with a sign saying that Savage was the victim of a devious murder by the Bonnells. Logan is released by Jessica and fobbed off with a check. The sheriff, inflamed in unhappy love for his boss, hangs himself.

Some time later, Wes and Louvenia get married. When the wedding party steps outside the church, Brockie rides up and mistakenly shoots Wes instead of Griffs. Handle imprisoned Brockie. Jessica is accused of embezzling tax money. In exchange for impunity, she loses all her belongings. When she visits her brother in prison, Brockie manages to overpower the deputy and free himself. With Jessica hostage and protective shield, he faces Griff for the showdown . This first shoots Jessica down, then he shoots her brother. Some time later, Griff leaves Tombstone and says goodbye to Chico, the town's new sheriff. Jessica, who has recovered, sees Griff leaving and longingly runs after his carriage. She can barely reach it and so they both drive away together.

History of origin

Script and preproduction

Forty Guns was produced by Fuller's Globe Enterprises for 20th Century Fox based on his own script. The film was originally supposed to be called Woman with a Whip , which was rejected by the studio as being too suggestive because of the sexual connotation of the term Whip . The original title can still be found in the film in the song High Ridin 'Woman with a Whip , which Jidge Carroll sings in the role of Barney Cashman in the film. Marilyn Monroe was interested in the role of Jessica Drummond, but was rejected by Fuller as being too innocent and lovable in her charisma. Fuller explains his decision: “She wasn't really the right person for the role, although it might have been interesting. Stanwyck then played the role and she had exactly what I wanted for the relationship between brother and sister. “ Barbara Stanwyck , then 50 years old and in the film business for 28 years, had a number of westerns like in the 1950s for example The Farm of the Taken ( Anthony Mann , 1950), Rough Journeyman ( Rudolph Maté , 1954), Queen of the Mountains ( Allan Dwan , 1955) and The Devil of Colorado ( Joseph Kane , 1956) and was considered a safe cast for the role an independent, sometimes unscrupulous woman in the Wild West. The fact that the film was shot in black and white helped the actress's vanity: her gray-white hair appeared blonde in the film and she didn't have to wear a wig like in some previous films.

Darryl F. Zanuck and those in charge at Fox insisted that Fuller change his original ending, in which Jessica would have died from Griff's bullets. They argued that in a western, the hero shouldn't kill the heroine. Fuller was not happy with this change and explains his opinion: “My end was much stronger, it went to the extreme. When Sullivan realizes he has to kill Stanwyck's brother, that's all he thinks about. His thoughts on Stanwyck no longer count. [...] So Sullivan shoots them both. […] There was something that could be seen in many films, in High Noon and so on, but what I didn't like: the villain grabs the leading actress and forces the hero to drop the gun […]. And usually the girl tears herself away so that the good can kill the bad. And that's stupid - if she gets out of there that easily, there's no reason he caught her. So I wanted to shoot this scene in a way the audience wouldn't expect [...]. I had to change it because the studio didn't want Stanwyck to die like that. She had to survive, and the two had to disappear into the sunset together. ”However, Fuller was able to assert himself so far that the two were denied a classic happy ending ; there is no kiss or hug, but Griff simply drives away from Jessica, who is running after him. A test screening of the film proved the studio right in retrospect: the audience largely rejected Fuller's end.

production

Forty rifles were shot mostly on Fox's studio grounds , but they are set in Tombstone . Wyatt Earp and his brothers were Fuller's role models for the Bonnells.

Filming took place in April and May 1957 on the Fox studio grounds and in Californian valleys near Los Angeles . The greatest planning effort required a long planning sequence in which the camera followed Griff and his brothers from the first floor of a house onto the street, about 300 meters along the street, into a telegraph office and back onto the street, where they then went with Jessica and meet their forty horsemen. Cinematographer Joseph F. Biroc recalls: “We shot it a few times, but we found that the dusty road was too bumpy for the camera crane . The crane arm with the camera, which hung more than nine meters on the arm, shook back and forth [...] We realized that in order to turn it, we had to have laid rails, more than three hundred meters. ”Within about two hours, the On this day of filming by 50 workers, Frontier Street , the longest street on the western backdrops on the Fox studio site, was leveled to achieve an even height, and a double track was laid for the dolly , which took up almost the entire length of the street.

The shooting turned out to be quite exhausting for the actors. Barbara Stanwyck had to cope with a fall from a horse in which she was caught in the stirrups and dragged along by the horse. Fuller reports: “Stanwyck really went for it. Whatever you needed, she was ready for it. The attitude when she is being dragged along by the horse is her and not a stuntman. We had some technical issues with the scene and she agreed to shoot it several times until we got it right. […] She was bruised afterwards. ”In the scene in which Griff and Jessica got caught in a sandstorm, Fuller used cement instead of earth , which was blown by a wind machine; as film editor Gene Fowler Jr. says, for the reason that Fuller liked the cement 's name, Fullers Earth , so much. The cement set in the actors' eyes, nose and mouth. Fowler sums up: "It was horrific!"

German version

The German dubbing was created in 1958 in the studio of Ultra Film Synchron GmbH in Berlin under the direction of Theodor Mühlen . The dialogue book was written by Wolfgang Schnitzler .

role actor Voice actor
Jessica Drummond Barbara Stanwyck Tilly Lauenstein
Bonnell handle Barry Sullivan Ernst Wilhelm Borchert
Sheriff Ned Logan Dean Jagger Paul Wagner
Brockie Drummond John Ericson Rainer Brandt
Wes Bonnell Gene Barry Horst Niendorf
Chico Bonnell Robert Dix Herbert Stass
Barney Cashman Jidge Carroll Axel Monjé
Judge Macy Paul Dubov Heinz Petruo
Chisum Hank Worden Alfred Haase

reception

Contemporary criticism

Forty rifles came into US cinemas in September 1957. The German theatrical release was December 5, 1958. Fuller was very satisfied with the result of his work: “I thought it was one of my best films up until then. Of course there were a few compromises, like the ending, but overall it came very close to my original vision. At that time, few people had the opportunity to write, produce, and direct a film. In France in the 1960s they called the Cinéma des auteurs . "

Variety certified Fuller, in his three functions as producer, screenwriter and director to have made "a solid piece of entertainment". Barbara Stanwyck mastered her role "in an experienced way", Sullivan was "convincing". Picturegoer magazinepraised Stanwyck's performance: “Even the most tactful moviegoers would admit that Barbara Stanwyck is no longer the youngest. But, as for the western, she still looks better on a horse than most of the slender and slender heroes. Add to that the enthusiasm of the Stanwyck. "

The German Catholic film review was unimpressed: "A long time confused and somewhat lengthy wild west whose morale is only half as good as the quality of his photography." The Protestant film observer was also not satisfied: "An unclear and low-tension Western."

Aftermath

Samuel Fuller in 1987, 30 years after the shooting of Forty Rifles

Jean-Luc Godard thought Forty Rifles next to House of Bamboo was Fuller's best film and, in his review in the Cahiers du Cinéma , regretted that the film had not come out in France. He says: “Despite an incomprehensible story, every scene and every shot of this western is full of originality. [...] His distinct personal style is reminiscent of the capers of Abel Gance or Stroheim , if not of pure Murnau ”. In his debut film Out of Breath (1960) Godard cited the editing technique that was detached from the narrative and the use of close-ups in forty rifles . The subjective attitude when Michel looks at Patricia through a rolled up poster and then kisses her is a direct quote from Forty Rifles when Wes Bonnell watches his beloved through the barrel of a rifle, followed by a kiss from the two of them. Tony Williams sees in the staging and visual design of Forty Guns an influence on Sergio Leone's films and the genre of the Spaghetti Western , especially in the use of extreme close-ups, the relentless and laconic depiction of violence and the montage of fast, violent actions be ushered in by long moments of silence.

Film studies assessment

Frieda Grafe calls the film a “milestone”, a first point in the upheaval in the western genre towards the late western , by telling “a kind of negative story of creation, a myth of decline”. Roughly confirmed that at Forty Rifles Fuller had "changed the Western forever" through the harshness of the portrayal and overcoming the trivial. In no other film had Fuller "placed his wild fantasies in such dark contrast to a genre". Forty rifles is a "hardcore western". It is so radical “through its fast, hard, cold rhythm […] and […] through its occasionally barbaric cadrage ”, because the detailed view of individual body parts was unusual for those times, but it gives up a premonition of the relentlessly precise look shocking details as it became common in the splatter film .

Server judges the film to be like Johnny Guitar - When Women Hate ( Nicholas Ray , 1954), Duel in the Sun ( King Vidor , 1946), and The Taken Farm ( Anthony Mann , 1950) “one of the dissolute, stormy westerns in which violence goes hand in hand with sexual hysteria. ”He drives“ the duality of violence and love to the insane climax of a feverish dream ”and is“ a Freudian hothouse in which every weapon is a sex object and every kiss is a bloodbath ends ”and looks“ like a case analysis of sexual frenzy - written by the patient ”. Forty Guns is less of a story than a state of mind, "Jessica Drummond's psychosexual odyssey from unhappy dominance to contented submissiveness."

Dickens comes to the conclusion that Forty Guns is "probably the only Western [...] that deals extensively with sex and its relationship to violence." He is "highly individual" and "stylized", his topics went "beyond the western backdrops ; in fact, any war zone would have been a suitable place for his pictures. ”Garnham states:“ The themes of love and death, marriage and death, sex and violence are treated in the most original and powerful way in Forty Rifles. ”It is difficult for him about the To write a film, because it is “more than any other pure experience, pure cinema”, the film is “the ultimate underground film ”, as it depicts clashing sexual energies in an almost abstract way.

Jacques Bontemps judged in 1967 in the Cahiers du cinéma that Forty Guns was “just a series of incidents in which the central ethos of the Western is missing because Fuller only uses the exterior of the genre” and “a stylistic improvisation that is only a thin connection to the traditional western. ”For the sake of the effect and the exaggeration, the film neglects the credibility of the story. Bontemps explains: “There are [...] too many shootings for anything to be wounded but the sacred rules of dramatic credibility. As M. Foucault puts it: it is not the men who bleed in Fuller's film, but the shots themselves ”. The quality of the film lies in its irrationality: "Imagination, madness and frenzy have made [...] Fuller's films the best and most personal that has come from the United States".

Hembus is much more negative in his judgment of the film. Fuller jumped "wildly and ruthlessly with his material", mixed up "brilliant scenes with passages of monumental naivety" and accepted "with a shrug that Barbara Stanwyck left him completely in the lurch." Vermilye confirms the film a "heavy plot", that only stays in motion with a few action sequences.

Film analysis

Staging

Visual style

Forty Rifles is, besides the China Legionnaire (1957), Fuller's only film that was shot in black and white and simultaneously in Cinemascope and one of the few films in which the anamorphic process was not combined with color images. Fuller avoids the difficulty of effectively implementing his preferred close-ups in this format by taking them to extremes. When Griff confronts his opponent unarmed in the first act of the film, for example, Fuller stages his walk as, according to Server, a “cinematic design”, as a “structure created by rhythmic editing, extreme close-ups and dramatic music”. Screen-filling close-ups of Sullivan's eyes alternate with images of his feet. The effect produced is that of one, according to Server, “crazy, over-the-top surrealism ”, one, according to Hardy, “stylistic hysteria”. According to Grafe, Fuller achieves a “directness of the images” despite the obvious addiction to effects and artificiality of the settings. She states: "Fuller loves to exaggerate excessively, to caricature, to trace all lines with thick lines". His visual work is Art brut , which aims neither at realism nor at transparency, but instead draws its effect from playing with exaggerations and clichés. Roughly added: "In order to irritate, [Fuller] has broken up every sense of space and every perspective". The close-ups of Sullivan's eyes initially seem like subjective shots from the opponent's point of view, but the opponent is still far too far away for such a close look. Grafe confirms that Fuller does not choose the subjective point of view of a protagonist, but rather the subjective point of view of the audience in order to involve them emotionally. Grob adds: "It is a subjective attitude, but one that comes from the emotional, not from a real situation."

Garnham discovers this stylistic device of the purely cinematic experience of emotions and topics in the opening sequence and sees a “ phallic crane setting” when the double row of Jessica's riders is divided by the Bonell's car. He explains: “From the opening sequence on, we are immersed in a world presented to us through interacting images of animal energy and border crossing. The rhythms of image and sound […] show the clash of two sexual instincts, a mutual rape ”. The dust thrown up by the riders in the opening sequence creates a blurring of the image, which is followed by other blurred moments in the film, motivated on the one hand by physical malfunctions such as the sheriff's shortsightedness , but also by the characters' overwhelming emotions such as love and hate. According to Grafe, these attitudes also serve to subject the audience's gaze and its emotionalization.

dramaturgy

Fuller takes not only visual, but also dramaturgical freedom. Especially in the second part of the film there is a “near-collapse of the narrative flow” due to omissions and temporal jumps, according to Hardy. He explains in more detail: "At first a narrative line is clearly visible, but later in the film the narrative structure is so brutally deformed that the film is almost obscure." This beginning of the narrative can be traced back to the sequence when the scene in which Wes is murdered by Brockie at his wedding is immediately followed by the funeral. Hardy notes that the characters do not exist within a timeline "in which there is a time gap between wedding and death, but where one immediately follows the other, while a monumental confrontation can seemingly last forever". The viewer cannot experience the events over time; it is not possible to find out whether the total span of the duration of the action extends to days, weeks or months. When asked why Jessica's empire is going down so rapidly at the end of the film, Fuller does not give a satisfactory answer. Hardy sees “Fuller's inability to explain the characters in a way that can be fully understood. […] Where Fuller explains the whys and whys of his characters in other films , Jessica and Griff in Forty Rifles are easy ”. Server confirms that the events and characters in this film "have no objective reality beyond their cinematic existence".

music

The two ballads in the film, High Ridin 'Woman With a Whip and God Has His Arms Around Me, comment on the plot and push it forward at the same time. High Ridin '… underlines the fact that Jessica gives the instructions and the men have to obey, according to Loy. At the same time, the song is "a challenge to a man to take the whip away from her and tame her". Williams sees the songs as an anticipation of the leitmotiv function of film music in the spaghetti western.

Themes and motifs

Strong femininity

After women in westerns were mostly only allowed to play the roles of settler women and teachers or of compliant prostitutes until the beginning of the 1950s, in the first half of the 1950s there was a trend in the western genre towards female leading roles, who emerged as leaders of Outlaw or ruthless ranch owners stand out from the traditional role of women in westerns and use their eroticism specifically for their own interests. The aim of this role change was, in French's opinion, "aspects of cruelty, heartlessness, clumsy eroticism, extraordinary sexual symbolism and slippery hints [...] that border on the ridiculous" to bring into the western genre. French cites as examples of such films Johnny Guitar - When Women Hate (Nicholas Ray, 1954) and With a Fist as Steel (King Vidor, 1955). Seeßlen complements the films Angel of the Hunted ( Fritz Lang , 1952), Am Tode über ( Allan Dwan , 1953), The Man Without Fear ( Delmer Daves , 1955), The Bandit's Wife ( Joseph M. Newman , 1952) and Death Fist ( Allan Dwan, 1955). French explains that this new use of female figures divides “women from their traditional role in Westerns […], namely being the voice of reason, who opposes violence […] and the idea that interpersonal matters can be regulated through violence , pronounces “.

Jessica Drummond corresponds to this new role; she is, according to Weidinger, "a dominatrix with a whip and leather boots" who, according to Seeßlen, "tries to humiliate everyone in a constant effort to prove herself." In it, according to Vermilye, she is “even more brutal and masculine than any man”. Accordingly, at the beginning of the film, she is presented sitting on the horse in black, masculine clothing. In Vermilee's opinion, Fuller elevates her to the "goddess of the Wild West, the primal mother of the American urge to expand". It is only when they meet with Griff, in, according to Hardy, “the couple's fight for and against each other” that their nature changes. The man, who, according to Grob, stands for the principles of insight, manageability and civilization, wins the conflict against the woman, who embodies savagery and lawlessness. According to Weidinger, there is a “gender battle between man and woman, whose power and strength must ultimately be broken before she is suitable for a wife”. Jessica's emancipatory efforts fail. At the end of the film, she can be seen in a white dress as she chases after Griff's carriage. This image, in stark contrast to how Jessica is presented to viewers at the beginning of the film, says Loy "says a lot about the conflict-ridden role of women in the United States in 1957".

Sex and gun violence

Forty rifles link the subject areas of sex and violence both in the images and in the dialogues. Firearms can be recognized by the viewer as phallic symbols that are prominently displayed. When Wes and his friend, the gunsmith Louvenia, exchange tenderness in their shop, the shadows of the rifles displayed in the shop window fall on their faces. Wes looks at his girlfriend through the barrel of a gun before the first kiss. Garnham sees “the intimate relationship, both in Fuller's work and in American society, between sex and violence and, in particular, between sex and weapons” grows from such and similarly motivated images. They are "the ultimate expression of the virility of the West"; an all-American topos, as it is also dealt with in Arthur Penn's A man is hunted or in Norman Mailer's novel The Example of a Bear Hunt . Fuller confirms in his autobiography: "My forty rifles were forty tails", the economic and social power that Jessica wields over her riders is based on her dominant sexual attraction.

In the German dubbing, the slippery, sexually connoted dialogues were partially defused and falsified. When Wes told his brother Chico about his new girlfriend and told him that he would like to stay longer in the city, he says in the American original: "I'd like to stay long enough to clean her rifle". Synchronized it says “Here you should have a rifle cleaned more often.” When Griff and Jessica meet alone for the first time, she asks him to show her his revolver. The unwinding dialogue in the original clearly has more sexual undertones. To Jessica's “Your trademark… may I feel it?” Griff replies: “Uh-uh, it might go off in your face”. The German version defuses: “What interests me about you, Mr. Bonnell, is your revolver. Can I see him maybe once? ”And“ I'm sorry it could start too easily ”. When Jessica has recovered from her injury, she is told in the original that she is a happy woman: "[Griff] put that bullet in you right where he wanted to put it." The German dubbing turns it into: "He intentionally did so targeted that the injuries were not life-threatening. "

In his autobiography, Fuller never tires of condemning violence, claiming: "If films like Forty Guns serve a higher purpose [...] then it is to show how inhuman and fruitless violence is." Nevertheless, there is violence in this film too a means of the hero sanctioned by Fuller in the context of the narrative to achieve his goals. Grob states that Griff wins in the end because he doesn't hesitate to shoot her and thus "more radically than she disregards all feelings". Garnham adds: "By shooting Jessica, he tries to destroy evidence of passion and love in himself." The violence exercised is Griff's means of "final humiliation" of his opponent.

Deconstruction of Western myths

Fuller breaks a lance on the possibilities of expression that the western genre offers a filmmaker: “Actually, I really like watching westerns. I've seen thousands since I was a child [...] Westerns are not only escapist , they are the last real source of drama and action, for the epic. ”In Forty Rifles , however, he changes the“ classic ”perspective of the Western. It is no longer a question of a society breaking into the border area, but the free West has already reached its end and has ceased to be challenging. Jessica is, according to Hembus, an "anachronistic figure" in her thirst for freedom; Like Griff, all she has left is to "try to find her way in a rapidly changing world", says Loy. According to Grafe, both are “broken and old”.

According to this situation, the myths of the Western are exposed. Griff is not a lonely gunslinger, he never goes into a duel without additional protection from his brother's weapon. Chivalry towards women is just as alien to him as the belief in the pioneering spirit. Fuller goes so far in demythologizing the hero that he never shows him riding a horse. Griff Bonell uses a carriage instead, the symbol of civilization and domestication.

Instead of the classic western topoi , Fuller brings in his own very own themes that are often dealt with in his films, such as the violent loss of his father, but also new, modern themes in the 1950s, such as the rebellious, criminal youth in the character of Brockie Drummond, like Nicholas Ray in … because they don't know what they are doing and Richard Brooks had already made them the subject of a mass audience for the first time two years earlier in The Seeds of Violence . Here, too, Fuller creates connections between Brockie's sexual irresponsibility and his potential for violence. Garnham sees Brockie's rebellion against Griff as an oedipal subtext: He wants to kill the father he never had.

literature

  • Ulrich von Berg, Norbert Grob (Ed.): Fuller . Edition Films, Berlin 1984, ISBN 3-88690-060-6 .
  • Homer Dickens: The Films of Barbara Stanwyck . Citadel Press, Secaucus, NJ 1984, ISBN 0-8065-0932-5 .
  • Philip French: Westerns - Aspects of a Movie Genre. Secker & Warburg in association with the British Film Institute, London 1973, ISBN 0-436-09933-0 .
  • Samuel Fuller with Christa Lang Fuller and Jerome Henry Rudes: A Third Face - My Tale of Writing, Fighting an Filmmaking . Applause Theater & Cinema Books, New York 2002, ISBN 1-55783-627-2 .
  • Nicholas Garnham: Samuel Fuller . Cinema One 15, The Viking Press, New York 1971, ISBN 0-436-09917-9
  • Phil Hardy: Samuel Fuller . Studio Vista Film Paperbacks, London 1970, ISBN 0-289-70035-3 .
  • Joe Hembus : Western Lexicon - 1272 films from 1894-1975. 2nd Edition. Hanser, Munich, Vienna 1977, ISBN 3-446-12189-7 .
  • Bernd Kiefer and Norbert Grob with the collaboration of Marcus Stiglegger (ed.): Film genres: Western. Philipp Reclam jun., Stuttgart 2003, ISBN 3-15-018402-9 .
  • R. Philip Loy: Westerns in a Changing America 1955-2000. McFarland & Company Inc., Jefferson, North Carolina and London 2004, ISBN 0-7864-1871-0 .
  • Georg Seeßlen : Western - History and mythology of Western films. Schüren Presseverlag 1995, ISBN 3-89472-421-8 .
  • Lee Server: Sam Fuller - Film Is a Battleground . McFarland & Company Inc., Jefferson 1994, ISBN 0-7864-0008-0 .
  • Jerry Vermilye: Barbara Stanwyck: Her Films - Her Life. Heyne, Munich 1975, ISBN 3-453-02833-3 .
  • Martin Weidinger: National Myths - Male Heroes: Politics and Gender in American Westerns. Campus, Frankfurt, New York 2006, ISBN 3-593-38036-6 .
  • David Will, Peter Wollen (Ed.): Samuel Fuller . Edinburgh Film Festival 69 in association with Scottish International Review, 1969.

Web links

References and comments

  1. ↑ a b Server: p. 42.
  2. ↑ a b Fuller / Lang Fuller / Rudes: p. 359.
  3. ↑ a b quoted in: Server: p. 41.
  4. ^ Loy: p. 281.
  5. ↑ Vermilye: p. 163.
  6. ↑ quoted in: Server: p. 42.
  7. ↑ I don't like it when there is always an easy way out - Samuel Fuller tells in: von Berg / Grob p. 101.
  8. ↑ a b Garnham: p. 171.
  9. ^ Fuller: p. 360.
  10. ↑ quoted in: Server S. 117 f.
  11. ↑ Server: p. 118.
  12. ↑ Server: p. 121.
  13. ↑ Thomas Bräutigam: Lexicon of film and television synchronization. More than 2000 films and series with their German voice actors etc. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-289-X , p. 386.
  14. ↑ von Berg / Grob: p. 152.
  15. ^ Fuller / Lang Fuller / Rudes: p. 364.
  16. ^ Critique of Variety ( Memento of November 20, 2007 in the Internet Archive ).
  17. ↑ quoted in: Dickens: p. 252.
  18. ↑ 6000 films. Critical notes from the cinema years 1945 to 1958. Handbook V of the Catholic film criticism. 3. Edition. Altenberg House, Düsseldorf 1963, p. 469.
  19. ↑ Munich, Review No. 88/1959.
  20. ↑ ran in Germany under the title Tokio-Story .
  21. ↑ quoted in: Will / Wollen p. 58.
  22. ^ Garnham: p. 158.
  23. ↑ a b essay by Tony Williams on sensesofcinema.com .
  24. ↑ a b Frieda Grafe: Forty rifles in: Kiefer / Grob: p. 221.
  25. ↑ by Berg / Grob p. 17.
  26. ↑ by Berg / Grob p. 16.
  27. ↑ by Berg / Grob p. 34.
  28. ↑ a b c d Server: p. 80.
  29. ↑ Server: p. 81.
  30. ^ Dickens: p. 252.
  31. ↑ a b c Garnham: p. 100.
  32. ^ Garnham: p. 134.
  33. ↑ quoted in: Will / Wollen p. 55.
  34. ↑ quoted in: Will / Wollen p. 57.
  35. ↑ quoted in Will / Wollen p. 58.
  36. ↑ a b Hembus: p. 665; By the way, Hembus falsely claims that Griff kills Jessica at the end of the film; an error that runs through parts of the German-language specialist literature from Seeßlen (1995) to Weidinger (2006).
  37. ↑ Vermilye: p. 164.
  38. ↑ Von Berg / Grob: p. 101.
  39. ↑ Server: p. 90.
  40. ↑ a b Hardy: p. 126.
  41. ↑ a b c Count: Forty rifles in: Kiefer / Grob: p. 219.
  42. ^ Count: Forty rifles in: Kiefer / Grob p. 220.
  43. ↑ a b c von Berg / Grob: p. 37.
  44. ↑ a b c Hardy: p. 130.
  45. ↑ Hardy: p. 124.
  46. ^ Loy: p. 282.
  47. ↑ a b French: p. 68.
  48. ↑ a b Seeßlen: p. 110.
  49. ↑ a b Weidinger: p. 135.
  50. ↑ Vermilye: p. 180.
  51. ↑ Vermilye: p. 182.
  52. ↑ by Berg / Grob: p. 30.
  53. ↑ a b Loy: p. 283.
  54. ↑ in Hardy (p. 126) wrongly reproduced as "I'd like to stay long enough to clean her barrel".
  55. ^ Fuller: p. 358.
  56. ↑ Von Berg / Grob: p. 33.
  57. ↑ a b Garnham: p. 104.
  58. ↑ quoted in: Will / Wollen p. 120.
  59. ^ Garnham: p. 87.
  60. ↑ Fuller / Lang Fuller / Rudes: p. 355.
  61. ^ Garnham: p. 102.
This article was added to the list of excellent articles on June 30, 2007 in this version .