Promising, but minor, debut.

Here comes a genius! First trademark Fuller film, and among the finest of all war movies, drawing from Fuller's real life experiences as a combat infantryman. The nightmarish fight in the mist inspired the atmospherics of the Lamotta/Robinson bouts in RAGING BULL.

Another first rate war film.

Fuller drawing here on his real-world experience as a newspaper man is less compelling than drawing on his combat experience.

Signature Fuller film noir, and career-making Richard Widmark role. Nihilistic noir line deluxe: Thelma Ritter (faced with imminent death) "Go ahead... you'd almost be doing me a favor."

Cool hard-boiled semi-science fiction submarine movie starring Widmark.

First fully mature Fuller film, replete with trademark weirdness, symbolism, ruthless violence, and obsession with internal and external male responsibilities in conflict.

Insane movie! Rod Steiger is a confederate who won't let the Civil War end, and gets mixed up with brutal injuns.

Fuller's racial themes come to the fore. Interesting (read:bizarre) casting of Angie Dickinson as a Vietnamese woman named Lucky Legs.

Unique violent western that will be recognized as a great film about five minutes after someone releases a widescreen print. The letterboxed opening credits give a taste of how w-i-d-e the film's compositions are, and pan-and-scan renders the movie almost incomprehensible. Killer matriarch Barbara Stanwyck is a hard character to fathom, since she is supposed to be attractive, but is filmed like a gargoyle... you have to look away from her close-ups. Fuller seems to have invented the trademark James Bond "gun barrel point of view shot," though I've never seen him credited for it.

The opening 10 minutes of house-to-house combat deserves to be studied like the Odessa Steps or Cary Grant versus the crop duster. It's no surprise that Fuller's take on the Nuremberg trials is... distinctive.

Trademark Fuller al the way, with another memorable opening sequence, brutal emotional and physical violence, and deep ruminations on race and racism.

Fuller begins the bizarre home stretch of his career, establishing himself as one of the few GREAT film-makers. Cliff Robertson's incredulity at his girlfriend thinking he would marry a woman like her would be a brutal scene in any film, but having the conversation dominated by a Gerber baby poster in her seedy room is the sort of thing only Fuller could do. He had no fear of what others thought of him and no pretensions, and thus was able to see the truth about film: you cannot go over the top in a movie. The ideal film is a propaganda film without the propaganda. Film is better suited to melodrama than drama. If something is worth saying at all, it's worth shouting.

Perhaps the craziest film ever made. A reporter goes undercover in a mental hospital and goes insane. Fuller's color home-movies are inserted into this rich B&W film as "visions" for little apparent reason. Inmates make bizarre political speeches. Men cannot escape "the nympho ward" alive. The hero is haunted by a tiny figure of his girlfriend implying the extremes of sexual pleasure he will enjoy as soon as he wins the Pulitzer prize. Too crazy to be "good," but perhaps crazy enough to flirt with "great."

Fuller's masterpiece. A prostitute tries to go straight in an idyllic but utterly corrupt small town. She is hounded by a cop who believes that no prostitute can reform, and uses her body without compunction, while not paying for it, thus safe-guarding the town's virtue. She finds a satisfying new life working with handicapped children, and falls for the town's most eligible bachelor, who is a child molester. All Fuller films begin with a dazzling set piece, and this one takes the cake. Best opening ever.

Visceral but throw-away pre-JAWS flick with Burt Reynolds.

Good but over-rated movie that is senselessly considered Fuller's great work. It's nice that Fuller got to make a big budget WWII movie, but it's pale compared to his earlier work.

Fuller often suffered the fate of many true artists in a world that prefers dogma, propaganda and consensus to individual points of view. Like every artist who isn't a doctrinaire communist yet dares to discuss any political reality, Fuller is widely considered a fascist by people who – unlike Fuller – haven't spent much time killing actual Nazis, fighting for intellectual or artistic freedom or bucking Hollywood norms to expose racism during the 1950s, back when that was daring rather than obligatory. This minor but admirable film about the nature of racism was condemned as racist by the same sort of knuckle-heads who would banish America's most (literarily) important anti-slavery novel, HUCK FINN, because Huck uses the word "nigger." WHITE DOG was actually pulled by the studio in the face or controversy. Like Welles after TOUCH OF EVIL, Fuller left his home country for Europe, never to return. The Plot: A young woman living alone adopts a stray dog after it saves her from a rapist. The dog turns out to have been trained to kill black people on sight–not just would-be rapists. She consigns the creature to a black animal trainer who begins an obsessive campaign to deprogram the dog, as if his efforts could destroy racism itself... almost an exorcism. Meanwhile, she searches for the original owner; compelled to discover what kind of person would turn a dog into a murderous bigot.