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Cross Of Iron is a masterpiece, one of the greatest anti-war, anti-authoritarian movies. It is one of director Sam Peckinpah's two finest works -- the other being The Wild Bunch. It deserves to be ranked in the same great war movie company as Apocalypse Now, Das Boot, Full Metal Jacket, Paths Of Glory, Saving Private Ryan, Seven Samurai, and Zulu. Its setting on the World War Two Eastern Front, its gruesomeness, and its risk-taking viewpoint on ugly combat from the German side, have tended to count against fair assessment of its considerable artistic achievements. Viewers wary of the morality of its German viewpoint and its explicitness might find that it is fundamentally about humanity in general as a victim of war. The film reflects on the humanity which may be found on all sides of conflict--including Russian humanity portrayed variously as relentless, innocent, brave, and feminine.Cross Of Iron opens with an intense, chilling montage of nursery rhyme, propaganda, combat newsreel and atrocity. By the end of the main title the montage subtly introduces the central characters, a German reconnaissance unit patrolling on the 1943 Russian front.This 1977 film set rarely matched standards of cinematic mayhem. Cross Of Iron explosions don't look merely like pretty fireballs -- they blast fragments, rocks and debris, leaving no doubt as to why blood gouts from stumps of limbs and shrapnel-shredded entrails. Amid the screams of wounded and dying, as dust subsides from a mortar barrage, an artillery piece shorn of its crew by a near hit swings across a pocked battlefield, its traversing wheel spinning under its own momentum. The carnage occurs in the choreographed slow motion which Peckinpah made his signature.James Coburn turns in one of his finest roles as Rolf Steiner, a highly decorated NCO who leads a German reconnaissance squad. Steiner fights less for his country than for his comrades. He has low opinions of class and rank distinctions. He is contemptuous both of Nazism and the aristocratic Prussian arrogance of his new superior officer, Captain Stransky, played with great style by Maximilian Schell. But there are hints of a dark side. Although Steiner is articulate and philosophical he has no answer when his love interest during an enforced break from battle, nurse Eva (Senta Berger), bitterly accuses him of being afraid of what he would be without the war.Among the many fine supporting performances, James Mason plays the war-weary Colonel Brandt. He sees the immorality and futility of German war aims, but his sense of honour and duty about the prevailing struggle makes ceasing to fight unthinkable. David Warner plays Brandt's out-of-place and out-of-time adjutant, Captain Kiesel, who represents to his colonel the hope that a more enlightened postwar Germany might arise from the ashes of inevitable defeat.War movie buffs irritated by the technical inaccuracies common in many examples of the genre will find some satisfaction in attention to authenticity of weaponry. A range of genuine WWII German and Russian small arms appears. The T 34/85 tanks are real, although the very picky might argue that this is at least six months premature, and that for the summer of '43 they should be T 34/76. Tactics at times deviate from the textbooks, but this is a drama, not a combat manual.At the time of writing, this great film of a great American director lacks the high quality collectors' edition Zone 1 DVD release it deserves. The Warner Home Video Zone 2 release available through www.amazon.co.uk has the high quality video and sound which have been missing from the non-studio Zone 1 releases. This film is a must-have for war movie fans.
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