Hello, my name is Justin Kluor, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club.

And today, we're talking about Samuel Fuller.

Will, I'll give it to you so you can do your imitation now.

I actually don't have an invitation of Samuel Fuller, but what I can tell you is that film is like a

battleground. There's love, hate, action, violence, death, in a word, emotion. I'm going to say right

at the top, I think that Samuel Fuller is one of my favorite directors. Yeah, I mean, I hadn't really

thought of him in those terms until this week, but I mean, who has a hit rate better than

this guy? Who grabs you by the balls, as he said oftentimes, and doesn't let go like Samuel

Fuller? If you read a script and the first scene doesn't give you a hard on, throw it away.

I think if you ask anybody who knows Samuel Fuller, is he a great director?

They will say yes, yes, he is.

But you know what's funny?

I think his work has always felt and still feels just a little bit de-class-e.

When people talk about it, they're like, oh, it's pulpy and, you know, it's cheap.

But it's rare that you hear cinephiles talk about him in terms of style beyond the, it's in your face.

Which is weird because when I watched all of his movies this week, it's evidently there.

He's the prototypical B movie director who used the fact that he was making B movies to be able to tackle subject matter too dangerous, too extreme for the A pictures.

And yes, he's over the top and everything is, you know, pow, pow, pout, hitting you over the head.

But I don't think what he's saying is less important

and certainly not less intelligent than so many of the A directors of the time.

I mean, you know, you compare it,

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