Reading this autobiography of Samuel Fuller, I met a man who lived a remarkable life and became a remarkable artist. He grew up poor, became a crime reporter while still in high school, wrote novels, fought in World War II, and succeeded as a screenwriter and director in Hollywood.
I'll be absorbing the lessons to be learned from this book for a while, but for now I'm focused on two ways in which Fuller exemplifies Stephen King's approach to writing as described in his memoir, On Writing.
King says the "Great Commandment" is "Read a lot, and write a lot." Fuller certainly wrote a lot: 42 produced screenplays, 11 novels, and 19 unproduced screenplays over a period of sixty years. Since he also directed the films made from most of those screenplays, his accomplishment is even more impressive.
Apparently he also read a lot since he often refers to ancient and modern works of literature as inspiration for characters and plot devices in his screenplays.
King also earnestly advises writers to write truthfully about their subjects. Fuller returns to this theme again and again, especially in reference to his movies about the Second World War: The Steel Helmet, Fixed Bayonets, and others, including The Big Red One.
Producers, Pentagon officials, and J. Edgar Hoover all pressured him to portray American troops as heroes, dedicated to fighting for liberty. In each instance, he refused.
As a soldier in the First Infantry Division (the Big Red One), Fuller survived amphibious assaults in Northern Africa, Sicily, and Normandy. He was one of those who liberated concentration camps and fought all the way to Berlin. He knew there was nothing heroic about war. He portrayed it as chaotic and terrifying.
Sometimes he got to make the movie he wanted to make, sometimes his project was cancelled. He never compromised.
Fuller made other kinds of films, notably Pickup on South Street (1953), a cold-war espionage thriller and Shock Corridor (1963), set inside a mental hospital. I'm ready to see some of his films.