IndieWire's Chief Film Critic Eric Kohn Picks the Best Movies of 2020 - Year in Review The Nouvelle Vague adored him ( Francois Truffaut, etc.) and Jean-Luc Godard would go as far paying him open tribute by giving him a cameo in “ Pierrot Le Fou.” Wim Wenders would do the same with Fuller’s small part in “ The American Friend.” Other admirers would include Martin Scorsese, Jim Jarmusch and Quentin Tarantino. Even if career problems meant that he never became the household name he should have been (he didn’t direct between 19, and the misreading of 1982’s “ White Dog” saw him become a pariah in Hollywood), Fuller’s lasting stamp on cinema is still felt today. Especially cinephiles and directors who would go on to become much more famous than he. Indeed, the director once made a parallel between moviemaking and war in a quote that served as something of a mission statement for his career “Film is like a battleground, with love, hate, action, violence, death…in one word, emotion.” Shooting with both a journalistic eye and a heightened style, producing work that was simultaneously crass and subtle, he’s one of the great pulp filmmakers, and a director who proved a huge influence on everyone. By the time he came to direct in 1939 - having been inspired by his anger at what Douglas Sirk did to his screenplay “ Shockproof” - Fuller would infuse his work with his experience as both a journalist and a soldier. He served in World War Two, seeing action in France, Italy and North Africa, as well as being present at (and filming) the liberation of the concentration camp at Sokolov. The great Sam Fuller began life as a crime reporter at the age of 17, before writing pulp novels and doing mostly uncredited work on screenplays through the 1930s (his first credit was on 1936’s “ Hats Off“).
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