From "A Fuller Life" (2013).
A documentary about Sam Fuller. Friends and (former) co-workers are reading his story.
Tim Roth is reading chapter 7: "D-Day: An Invitation to Hell"
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From "A Fuller Life" (2013).
A documentary about Sam Fuller. Friends and (former) co-workers are reading his story.
Tim Roth is reading chapter 7: "D-Day: An Invitation to Hell"

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The Naked Kiss (Samuel Fuller, 1964).
yall want an enemies to lovers bodyguard movie? look no further may i present to you miss congeniality 2: armed and fabulous. they beat eachother up they fight they cannot stand eachother at all but they make the best fucking team ever they do drag together they share secrets with eachother and bond during a sleepover they learn to get along and through it all they got eachothers backs when they need it most. what more must i say? they have it all!
"i am your bodyguard which means i need a BODY to GUARD"
also height difference
House of Bamboo premiered in New York City on 1 July 1955.
Sam Fuller reworked Harry Kleiner's script for The Street with No Name (1948), changing much of the plot, but especially the location. Set in Tokyo, House of Bamboo was the third major American studio film to be shot on-location in Japan, and the first in color.
While the film was a modest box office success in the US, it was received more critically in Japan (where it opened in August 1955), with one reviewer writing that it was "trying to sell exoticism to an American audience using Japan as a stage and a Japanese actress (Yoshiko Yamaguchi)….Its manner of completely ignoring Japanese habits, geography and sentiment makes us feel quite awkward."

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Born on this day in 1912, journalist, soldier, director, and father, Sam Fuller. What is your favorite film of his, noir or not?
Sam Fuller by Thomas Lavelle
Recently Viewed: The Crimson Kimono
[The following review contains MAJOR SPOILERS; YOU HAVE BEEN WARNED!]
At first glance, The Crimson Kimono appears to be a rather vanilla example of film noir. The plot revolves around a murder investigation: after a popular burlesque dancer is shot dead in Los Angeles’ Little Tokyo district, a pair of hardboiled detectives must use their grit, wits, and fists to track down the perpetrator—so far, so formulaic. The narrative abruptly veers into unexpectedly melodramatic territory, however, when both gumshoes fall hopelessly in love with their star witness, straining the bonds of their partnership—and their friendship, which stretches back to the foxholes of the Korean War.
This dilemma hits Joe Kojaku—the Asian American half of the buddy-cop duo—particularly hard; perceiving his pal’s jealousy and resentment over the budding romance as evidence of repressed racism, he begins to question his entire identity. A man of Japanese parentage born and raised in California, he is the quintessential outsider, feeling as though he belongs to neither culture. James Shigeta’s layered, nuanced performance (combined with Samuel Fuller’s sensitive, insightful direction) enriches every frame; the scenes in which his psychologically tormented character aimlessly wanders the dark, empty, labyrinthine streets convey a palpable atmosphere of angst, insecurity, and loneliness.
This emphasis on interpersonal relationships and internal conflicts allows The Crimson Kimono to transcend its otherwise conventional genre framework. While the movie’s familiar stylistic flourishes—moody cinematography, jazzy soundtrack, snappy dialogue—are sublime, its deliciously complex substance is what truly elevates it.
Shockproof
The combination of two filmmakers as distinctive as Samuel Fuller and Douglas Sirk would have made for a much better film than SHOCKPROOF (1949, TCM, YouTube) had Columbia Pictures not softened most of the rough edges of Fuller’s script. He wrote about a parole officer (Cornel Wilde) who becomes obsessed with a murderess (Patricia Knight, aka Mrs. Wilde) under his supervision. He tries to keep her from the gambler boyfriend (John Baragrey) for whom she had killed, gets her a job caring for his blind mother (Esther Minciotti) and, when she shoots a man to protect him, goes on the lam with her., The film still has a strong sense of the forces that drive Wilde from the straight and narrow and a wonderful bit of irony at the end that I can’t reveal. But it also has a hokey ending forced on Sirk and Fuller by the studio. Sirk hated it so much he left Columbia and briefly returned to Germany.
Sirk’s influence can be seen in an opening sequence that introduces Knight by following her picture hat as she adopts a new look and goes for her first check-in with Wilde (in one L.A.’s best. locations, The Bradbury Building). He also makes Wilde’s family home another character in the film (as he did with the family homes in ALL I DESIRE, ALL THAT HEAVEN ALLOWS, THERE’S ALWAYS TOMORROW and WRITTEN ON THE WIND). He tends to favor the story’s women, getting strong performances from Knight (she gives good regret), Minciotti, Ann Shoemaker as a police psychiatrist and Claire Clarkson as Knight and Wilde’s neighbor.