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A Third Face: My Tale of Writing, Fighting, and Filmmaking

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Samuel Fuller was, depending on your outlook, either the director of a lot of fun "B" movies, or one of the seminal forces in cinema. Nevertheless (to borrow a word he quotes in the book), it cannot be argued that he didn't lead one of the most exciting lives of the 20th century! His portraits of America in the 20s & 30s, Hollywood (and the world) in the 40s through the end of the century (or, close enough-he died in 1997) are brilliant, hilarious, moving, frivolous, and profound portraits of who we ALL are, and how we got that way. If you're a film buff, read this book! If you're an history buff, read this book! And, if you just want to read one of the most entertaining, enlightening, pieces of (forgive me, Mr. Fuller!) literature, READ THIS BOOK!!!!!

It was someone else's review that sparked my interest in this book. I even didn't know who this Mr. Fuller was!
Life is short, and I always look for suggestions from elder people: especially those who lived their life with passion and at full speed.

"If there's one reason to recount my personal history, something inspirational that I'd like my life experiences to offer you, the reader, be you young or young at heart, then it would be to encourage you to persist with all your heart and energy in what you want to achieve - no matter how crazy your dreams seems to others. Believe me, you will prevail over all the naysayers (...) who are telling you it can't be done!"

And inspirational indeed it is!
I warmly suggest you to read this book because it is well written, because the yarn makes sense, because it is enthralling, because it tells you a life full of energy, because it'll give you relief when you are in pain, hope when you're dreaming a better future, reasons and support while you fight for your ideals - like Fuller did, and not just in a metaphorical sense - and of course, because it's the author's true experience (i.e. it can be done - don't listen to the naysayers!).

It is possible to roughly divide this book in three parts: part one is when Fuller was able to work as a reporter in New York; part two is the tale of Fuller that chose to volunteer into the Second World War, infantry, that makes about thirty percent of an army and suffers eighty percent of its losses.
Third part (it makes up for more than half the book) tells of Fuller back from the war, when he had quite a successful career as a film director.

I'd just like to quote excerpts from the book, I think this is the best way to lure you into reading it!

A dialogue between Sam Fuller and Hank Wales: " 'Let's you and I write a movie together!' said Hank. 'Got any good stories?'
We both laughed. With all his amazing experiences, Hank Wales was asking me for a yarn. I was thrilled that such a remarkable guy wanted to collaborate with me. But I had a book to finish.
'Look, Hank,' I said, 'I'm writing the great American novel!'
'Everyone is writing the great American novel, Sammy. Forget about greatness. Let's have some fun.' "

"One guy I couldn't forget was Griff, who'd barely survived a land mine explosion. When I first got back to the States, I went down to Washington, D.C., and visited Griff at a veterans' hospital there. He was a basket case, no legs, no arms. Only mumbled words came out of his lips. Believe it or not, we had a wonderful reunion. Griff's eyes sparkled when he saw me. He laughed when I recalled some of the funny shit we'd gone through together in the war. I put my arm around his neck and kissed him, happy to find him alive. I couldn't keep the tears back. Griff didn't want me feeling sorry for him. He was born optimist and refused to accept my pity. Or anyone's. I was trembling when I left the hospital that day.

Griff's invincible spirit would always be an inspiration. I will take his optimism with me to my grave. Life is too precious and far too short to get hooked on negativity. In my scripts and stories, you'll find a helluva lot of characters named Griff. It was my way of saying thanks for his will to survive."

"Young writers and directors, seize your audience (...) as soon as the credits hit the screen and hang on to them! Smack people right in the face with the passion of your story! Make the public love your characters of hate them, but (...) never - never! - leave them indifferent!"

"You young people sitting around watching the (...) television! (...) Go see the world! Throw yourselves into different cultures! You will be always be wealthy if you count your riches, as I do, in adventures, full of life-changing experiences."

We need a guy like Fuller to come back in this age of corporate greed and fascism. That's the first thing that came to mind as I ventured into the first few pages of this memoir. I myself am a filmmaker, and have been moved by Jean Renoir's autobiography, MY LIFE MY FILMS and I find this to be it's American partner. The sheer sense of freedom and protection for democracy which Sam Fuller speaks of when describing his actions and decisions throughout his career inspired me greatly. He is the example of a man who refused to be a governement stooge when his film always showed both sides of the issue, and I believe that anyone who is making films now should read this book to see that they don't have to make the people with the money happy. Where are the Sam Fullers of the world now where have they all gone. His message has gotten to me.

"A Third Face" is one of the great crusty, caustic autobiographies of recent years. Fuller died a few ago, an old cigar smoker of pithy phrase, maverick tendencies and artistic courage. As a crime reporter in New York in the 20s, as a hobo in the 30s, as a GI in World War II, as a novelist, screenwriter and director of noir and war movies ("Pickup on South Street," "House of Bamboo," "The Big Red One"), Fuller was a force of nature, a no-BS realist who knew how to tell a story. The photo on the back cover speaks volumes: raised pistol in one hand; a camera lens in the other. Yet he was, at core, a powerful pacifist. He was a survivor.

Fuller's style is profane, anecdotal, street wise and hugely engaging. It's no wonder, since he was the young protege and buddy of hard-boiled writers like Gene Fowler and Damon Runyon.

Fuller's account of his "dogface" years as a G.I. in North Africa, Italy, France and Germany is one of the best descriptions of WWII Army life I've read.

Later, Hollywood studios offered him big money to make their blockbusters ("The Longest Day," "Patton"), but he turned them down so he could make little movies his own way. ("I make A movies on B budgets," he liked to say.)

Out of curiosity,I recently rented a couple of his movies. "Pickup on South Street," with Richard Widmark and Jean Peters, just crackled. "Shock Corridor," with Peter Breck, was ambitious but flawed.

Though I can't wait to see some of his other films, my hunch is "A Third Face" will stand as Fuller's single greatest artistic achievement.

In later years, Fuller became mentor to many young directors: Jonathan Demme; Tim Robbins; Jim Jarmusch, Martin Scorsese. It's clear from Scorsese's introduction that they idolized him.

As a writer, Sam Fuller teaches this lesson: Write fast; never give up; to hell with the naysayers. His final two or three paragraphs offers a capstone philosophy that all should embrace.

I loved this book. It saddens me to finish it.

I just finished reading this amazing book and have GOT to reccomend it to everyone! I was at first put off by it's length but don't let that fool you. At close to 600 pages it reads like a swiftly paced novella in which every anecdote-filled page leads fluidly to the next exciting "yarn" (to use Sam's favorite phrase). Fans of Sam Fuller are already sold so I won't preach to the choir. Anyone who has even a passing interest in the American century has got to read this firsthand account of a man who was ALWAYS at the right place at the right time. From his formative years at the end of WWI to all the events and people in between, Sam Fuller's adventures are a must-read. The best part is he wasn't just a casual observer of these fascinating events, he was an active particpant. Prohibition, The Depression, Lindbergh, Al Capone, Gene Fowler, Ring Lardner, WWII, D-Day, Daryl Zanuck, the blacklist, Marilyn Monroe, even Jim Morrison, there is no person or event in the 20th Century Sam did not encounter as either a reporter, soldier, or film maker.
Forget what you've heard about Fuller. Read the man's own account for yourself as I did. Like him or dislike him, you can not deny the man's impact on popular American culture and history. After reading it, you'll have to admit, it's a hell of a yarn!

"Film is like a battleground. Love. Hate. Action. Violence. In one word, emotion." That line of dialogue, ad-libbed by Samuel Fuller in Jean-Luc Godard's `Pierrot le fou,' seems to more or less sum up his philosophy of film making. Those of us who aren't fans of the film director may mourn the absence of words like `coherence' and `plausibility,' but there's no denying that most of Fuller's film literally burst with energy.

As does his autobiography `A Third Face,' written with wife Christa at the end of a long and event filled life, even those who find Fuller's film a little too energetic will find this book interesting. Starting out in New York City, where he found working as a copy boy and reporter on Park Row more interesting than the high school he'd abandon without graduation, to his service in the 1st U.S. Infantry Division (the Big Red One) in World War Two, through to his post-war career as a screen writer and film director, Fuller is never boring.

With the possible exception of `The Big Red One' (1980), a film that he'd nursed for years, Fuller's career peaked in the mid-60s with independent productions like `Shock Corridor' and `The Naked Kiss.' Although Fuller claims he was offered both `The Longest Day' ("My own vision of war and the world made me say no") and `Patton' ("After my war experiences, I didn't have the necessary detachment to do a picture celebrating the man"), it's as intriguing to contemplate how he might have directed these films as it is to wonder how serious were the offers. After all, as he admits, he `was prone to excess' and loved to grab the audience and shake them. Not necessarily what you look for in a big picture director. The third face, to Fuller, is the inner person that nobody else sees. "My third face was my own holy sanctuary... It was a storage room that nobody but me could enter... It wasn't just a concept for me but a very real locale, captivating and whimsical, cozy and seductive, the geisha girl of my brain." A Third Face is captivating and whimsical, cozy and seductive, too. A strong recommendation for this one.

A Third Face: My Tale Of Writing, Fighting, And Filmmaking by Samuel Fuller (with the posthumous and collaborative assistance of his wife Christa Lang Fuller and longtime friend Jerome Henry Rudes) features a Foreword by Martin Scorsese and and presents the reader with an autobiographical account of one of Hollywood's most prolific and independent writer/director/producers. The late Samuel Fuller (1911-1997) made 29 tough, gritty films from 1949 to 1989. His film "Park Row" was inspired by his years in the New York newspaper business. His years of service in the army during World War II provided material for his films "The Big Red One", "The Steel Helmet", and "Merrill's Marauders. From "Pickup on South Street" and "Underworld U.S.A.", to "Shock Corridor" and White Dog", A Third Face provides the story behind the films and the man who created them. A Third Face is highly recommended and inherently fascinating reading for film buffs and students of 20th Century American Cinema.

This is a wonderfully feisty book, the autobiography of Sam Fuller told (basically) in three parts - his years as a journalist, his years as a soldier, and his years as a filmmaker. Fuller was a colorful character, and he didn't mind raising a ruckus, something which makes for lively reading. He also saw more and did more than most of us ever will, and his book is a parade of many of the 20th century's most fascinating events and characters. My biggest regrets after reading this work are 1) that he didn't get more of his film projects on to the screen and 2) that so many of his books are out of print. If his other books are half as entertaining as this one, I very much would like to read them.

Samuel Fuller did have a full life and you read about it here. His details of his life while in the Army during WWII is one of the best as is his teen years learning the newspaper reporting business. He had too many valleys in his life (don't most of us?}and the peaks were short lived. There is no gossip in this book, but an interesting story for all...not just movie buffs.

Sam Fuller is a filmmaker unknown to most Americans, but for years a favorite in France, thanks to such fervid acoyltes as Jean-Luc Godard and Francois Truffaut. Such 50s classics as "The Steel Helmet" and "Pickup on South Street" made Fuller, along with Nicholas ("Rebel Without a Cause") Ray a favorite of the Cahiers du Cinema crowd.

But Fuller was more than just a director. He had been a newspaperman in New York's tabloid era of the 20s and 30s. He was an infantryman on Omaha Beach on D-Day. He had met just about everyone worth meeting -- from Charlie Chaplin to Al Capone. And he is, as his autobiography "A Third Face" most eloquently demonstrates, a magnificent storyteller.

The section of the book dealing with Fuller's experiences in World War II make for amazingly gripping reading -- and I would like for people like Donald Rumsfeld to take a gander at Fuller's account of what warfare is really like before they send young Americans into combat any time soon. Fuller writes about war in all its hallucinatory insanity (as he waded through the blood and body parts to get onto Omaha Beach he saw a man's mouth -- just his mouth -- floating in the water), and it's not a story you're likely to forget.

His exploits in Hollywood, while not as gripping, are equally fascinating. Fuller clearly pines for the old days when moguls like Darryl Zanuck would protect a writer's vision and a deal could be counted on even if it was only a handshake. And while Fuller made his share of career mistakes (he turned down both "The Longest Day" and "Patton," for example), his filmography is an eloquent tribute to a man who wanted to make his films his way -- no matter what the cost.

The book is not perfect, though. It is marred by many factual errors (to give just one example, he discusses meeting French film critic Andre Bazin at a time when Bazin had been dead for years), and at times he seems suspiciously eager to belie his reputation as a right-wing filmmaker. His use of language can get a little repetitious (if I had a dollar for every time he uses the word "yarn" in this book I could buy everything on my Wish List), and I found myself wondering just how much of the text had actually been written by Fuller's wife, Christa (one of two credited co-writers), and not by its putative author.

All those reservations aside, this is a book that will keep you up late (that is, if I'm any indication -- I finished it at dawn), and that truly earns the description of "impossible to put down." You should put it on your bookshelf alongside Frank Capra's great (and equally inaccurate) "The Name Above the Title." Assuming that you don't take the author's word for gospel, and you're willing to accept the fact that he will never let the facts get in the way of a good story, it's an engrossing and unforgettable read.