Siegfried Rauch Movies

Iconoclastic film director Samuel Fuller spent decades nurturing his dream project, a movie about his experiences in the Army's First Infantry Division during World War II, but it wasn't until 1979 that he was able to finally bring the picture before the cameras. Unfortunately, Fuller was forced by his producers to work with a scaled-down budget, and he did not have final cut on the film; after his first rough cut ran nearly four-and-a-half hours, the studio took over editing on the project, and Fuller was vocally unhappy with the final results. In 2003, critic and film historian Richard Schickel initiated an effort to restore The Big Red One to a form that more closely resembled Fuller's original vision; using a large cache of newly discovered footage and the director's shooting script as a guide, the 113-minute theatrical version was expanded to 158 minutes, adding depth and detail to Fuller's sweeping and episodic tale of a hard-as-nails sergeant (Lee Marvin) and four inexperienced recruits under his command (Mark Hamill, Robert Carradine, Bobby Di Cicco, and Kelly Ward) as they battle their way across Africa to Europe between 1942 and 1945. Schickel's reconstruction received enthusiastic reviews when it went into limited release in the fall of 2004. ~ Mark Deming, Rovi

The role of media manipulation of the news is also the starring role in this political drama involving a female broadcast journalist who travels to Africa to cover a breaking story about a revolution, only to have her material cut and recast back in her London studios. Lisa Ford (Gayle Hunnicutt), her cameraman (Siegfried Rauch), and her Cuban advisor (James Faulkner) are taken to the head of the guerrilla forces (Ken Gampu) who holds two young women hostage (to attract world attention to his cause). As the cameraman films the story and Lisa adds her commentary, they themselves have to choose and select what they show since there is not enough air time to run hours and hours of videotape. Once their installments reach the program controller in London (Trevor Howard), he uses his own judgment to basically censor Lisa's story. Although director Francis Megahy's point is well-taken, it may be stated one too many times for some viewers -- for others, perhaps, it could not be stated enough. ~ Eleanor Mannikka, Rovi

Following the surprising success of his cheapjack Star Wars knockoff, Star Crash, Italian director Luigi Cozzi was given the helm of this cheapjack Alien knockoff. An alien cyclops causes a man to cover the Earth with nasty eggs (sometimes made of silicone, sometimes close-ups of common olives). The eggs release gelatinous gunk which makes people explode, and it's all part of the alien's plan to take over the world. Cozzi, a less-talented protégé of Dario Argento, at least gets a good soundtrack by using his mentor's house band, Goblin, but delivers a bad film nonetheless. The director admits that the ludicrous monster was made of badly painted papier-mache, requiring 96 separate cuts to look convincing in its big scene. It didn't work. ~ Robert Firsching, Rovi

The original British version of Escape to Athena ran 125 minutes; American prints were judiciously cut to 101 minutes, emphasizing the action content and neutralizing the duller dialogue sequences. Roger Moore stars as Major Otto Hecht, an anti-Nazi German who presides over a World War II POW camp. The prisoners, played by such diverse types as Elliott Gould, David Niven, and Sonny Bono, plan an escape with a group of Greek partisans (headed by Telly Savalas). It's not that the POWs are dissatisfied with life behind barbed wire -- it's just that they've been coerced into rescuing valuable art treasures from the Nazis, and there's a possibility of turning a profit! ~ Hal Erickson, Rovi

Toward the end of 1918, soldiers in the Austrian army were well aware that things were not going well. In this story, an army cadet arrives to serve in Belgrade and receives orders to serve in a regiment which is accompanying a Hanoverian princess on her return to Vienna. While in Belgrade, the young man and the princess are able to meet, and they fall in love. The cadet knows that it is foolish to expect the Slavs, who have been drafted into the army, to fight very hard for an empire they would happily see dissolved, but his superior officers are oblivious to this simple fact, and as a consequence, they suffer serious military reverses. Inspired by their ancient code of military honor, the regiment's officers fight and die to preserve the regiment's battleflag, which comes into the keeping of the cadet. He is entrusted with the task of returning it to the Hapsburg royal family. ~ Clarke Fountain, Rovi

John Sturges directed this taut adaptation of Jack Higgins' suspense novel about an attempted kidnapping of Winston Churchill by the German high command during World War II. When it is discovered that in November 1943 Winston Churchill is scheduled to spend a weekend in a country home in Norfolk, the Germans plan to kidnap him. Heinrich Himmler (Donald Pleasence), under orders from Hitler, assigns Nazi colonel Max Radl (Robert Duvall) the chore of sneaking the English-hating Irishman Liam Devlin (Donald Sutherland) into the British countryside and arranging for a 16-man task force to be parachuted into the English country town of Sudley Constable, under the auspices of Colonel Kurt Steiner (Michael Caine). The efficient planning works too well, and before long their exactingly perfect timetable begins to come apart. ~ Paul Brenner, Rovi

Steve McQueen is ideally cast as a champion race car driver, participating in the famed 24-hour race headquartered in Le Mans, France. Though dedicated to Going for the Gold, McQueen finds time to romance widowed Elga Andersen. The dramatic angle to this plot wrinkle is that McQueen may well have been responsible for the death of Andersen's husband during a previous car pile-up. Director John Sturges, who'd previously helmed Steve McQueen's legendary motorcycle chase scenes in The Great Escape, was originally slated to direct Le Mans, but withdrew from the project; it was then taken over by Lee H. Katzin of The Phynx. ~ Hal Erickson, Rovi

The German Seventeen and Anxious was also released as O Happy Day. The film's alternate title is a reference to a popular gospel song, which is performed often and con brio in the course of the action. The film's official title alludes to the coming of age experienced by its youthful protagonists. The younger actors are green but eager to please, while the veterans in the supporting cast-including Nadja Tiller and Karl Michael Vogler-help make the film palatable for those among us not politely inclined to nervous teenagers. The film's R rating is admittedly necessary, but should not suggest that the film is overtly offensive. Unfortunately, Seventeen and Anxious represents the next-to-last film effort for its talented director, Zbynek Brynych. ~ Hal Erickson, Rovi

In this murder mystery, Scotland Yard investigate the deaths of two coeds at an exclusive girls' school. Clues involve a man wearing a hood, and a mysterious poison gas. ~ Sandra Brennan, Rovi