List of Illustrations | ix |
Acknowledgments | xi |
Introduction | 1 |
The Fuller Biographical Legend 4 | |
Fuller as Storyteller 10 | |
Movement and Conflict 17 | |
Chapter One: The Lippert Years, 1948–1951 | 24 |
The Marketplace for Low-Budget Films 25 | |
Early Experiments: I Shot Jesse James and The Baron of Arizona 28 | |
Establishing a Voice: The Steel Helmet 39 | |
Chapter Two: The Fox Years, 1951–1956 | 52 |
The Trade-offs of Studio Filmmaking 54 | |
Return to War: Fixed Bayonets 56 | |
Complete Independence: Park Row 62 | |
Brutality: Pickup on South Street 67 | |
Classical Style: Hell and High Water and House of Bamboo 77 | |
Chapter Three: The Globe Years, 1956–1961 | 93 |
The Challenges of Independence 94 | |
No Holds Barred: Run of the Arrow, China Gate, Forty Guns, and Verboten! 97 | |
Sensational Style: The Crimson Kimono and Underworld, U.S.A. 121 | |
Chapter Four: The Freelance Years, 1961–1964 | 141 |
Return to War: Merrill’s Marauders 142 | |
Adult Exploitation: Shock Corridor and The Naked Kiss 148 | |
Fuller Goes to Vietnam: The Rifle 168 | |
Chapter Five: The Final Battles, 1965–1997 | 171 |
Critical Recognition, Professional Frustration 171 | |
Loose Ends: Shark! and Dead Pigeon on Beethoven Street 177 | |
A Personal Journey: The Big Red One 184 | |
Inciting Controversy: White Dog 191 | |
In Exile: Thieves After Dark and Street of No Return 196 | |
Conclusion | 203 |
Notes | 207 |
Filmography | 227 |
Bibliography | 233 |
Index | 239 |