The film makes a home in your brain and the only cure is to see it again.

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

After playing with our expectations, this turns out to be a very different sort of film.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

There is Only One Sam Fuller and His Detractors might say that was Certainly Enough. But No One can Argue that Sam Fuller made Boring, Uninteresting, or Common Movies. He was Anything but Common.While watching a Fuller Movie one is Struck by the Audaciousness as it Unspools with the Usual Low-Budget and Barely Professional Actors. For His Films are all about the Subject. Be it War, Western, Crime, or any Number of Odd Stories He chose to do, Sam Fuller always gave His Heart and Soul.In this WWII Movie it is the Very End and Post War Germany that is the Setting and the Nazis have been Reduced to Nothing More than a Street Gang and the Occupiers are Struggling to keep all the Threads of Society from coming Unraveled. The Most Basic Things like Food and Medicine are in Short Supply and there is Never a Shortage of Suffering People.This is just some of the Layers that Fuller Uses here to Elicit a Template of Surreal Cynicism. The Claustrophobic Sets and the Dense Lighting also Manage a Meilu of a Hell on Earth. Posters and Leaflets are Wallpaper and Signposts and the Love Story is not only Edgy but Verboten. This is the Writer/Director's Vintage Heavy Handedness that is a Delight to Watch and is Another Example why there is Only One Sam Fuller.

"House of Bambou": a man infiltrates into a bunch of former GIs turned criminals."Run of the arrow":a confederate ,after the fall of the south ,leaves his people and wants to live with the Indians."The naked truth" : a prostitute tries to join the "respectable" world and works with disabled children."Shock corridor" : a journalist ,dreaming of a big scoop ,gets admitted in a mental hospital to unmask criminal but is slowly losing his mind....There are more Fuller movies which deal with the "intruder" subject ,the "hero" who wants to get out of his world ,and "Verboten" is one of them.An American sergeant fights in Germany;a young girl saves his life and he falls for her .The war comes to an end ;not only he wants to marry her ,but he also wants to live in Germany where an embittered youth is dreaming of another "Reich" -a burning subject even today-He has to cope with angry starving Germans who want to get rid of the Americans whose help is humiliating.In spite of unbearable pictures (Nuremberg),the movie is not as convincing as the five movies I mention above .The part of the girl is underwritten and it's difficult to understand her motives.Maybe Fuller wanted her to be an ambiguous figure.Like this? try this...."The big lift" George Seaton,1950

I enjoyed this for a couple of reasons. The emotional tangle was at times confusing and imperfectly resolved, but the blend of newsreel footage with the film's narrative was often compelling. The other element that I appreciated was the depiction of the Werewolves, the fanatical Nazis who continued the fight after the formal surrender. I don't know of another film that deals with them. They assassinated Burgomaster Oppenhoff of Aachen on Palm Sunday, 1945, for example, and did create problems for the occupation. The film, then, challenges the sanitized version of victory and occupation with some gritty realities. The "human issues" are presented not so much through the characters here, but through the historical reality that was gripping those who had survived Hitler -- both conquered and victors.

Great film about an American G.I. who quits the army to marry a German girl who saved his life in the last days of the war. She accepts, but does she do it because she really likes him, or because he can support her with easier access to food and such? Meanwhile, her brother and an old friend form an anti-American terrorist group called the Werewolves, their purpose to drive away the occupants (you might remember the same group playing a major part in Lars von Trier's film Europa (Zentropa)). James Best, best known for his role as Roscoe P. Coltrane in the 1980s television show The Dukes of Hazzard, is shockingly excellent as the American. He should have become a big movie star – at this age he reminds me very much of Warren Beatty. The other main actors are good, as well. Fuller's direction is quite good, using a lot of long takes again (although they are not nearly as complex as they were in Park Row; the long takes more often than not consist of long scenes with a lot of dialogue). The only problems lie in the script, as seems to be the case with all of the Fuller films that I've seen. It's not too badly flawed, but it ought to have been expanded, fleshing out major characters and parts of the script. Helga, the wife, goes through a major change, but completely off screen. Therefore, the emotional center rests squarely on Best's shoulders. Fuller also should have killed off the sick mother early in the film. I hope that doesn't sound too harsh! She just doesn't really do anything throughout the film except lie in bed. She has so few lines. But Fuller keeps bringing her up as the film goes on. I would have had her death solidify David and Helga's relationship myself. And the film ends too abruptly, and it lacks payoff. These aren't really the biggest flaws in the world (the way I described them makes them sound bigger than they are). 9/10.