You’ve got to hand it to Fuller— by going to low-budget Lippert Pictures he got basically the unglamorous result he wanted. In the process, however, he had to sacrifice certain production values, but what he got in return was an unHollywood Gene Evans, a stunning statue, and an unconventional screenplay—all pretty cutting edge for the time.

Now, tough-talking, homely-looking army sergeants were pretty much a staple of the era, (think James Whitmore in Battleground {1949}). However, they usually took orders from a handsome leading man like Van Johnson, and so were clearly secondary, even if important, characters. Not so here. Sgt. Zack (Evans) leads the cast, takes orders only reluctantly, and deploys the patrol in combat situations like an officer. At best, he only tolerates his nominal superior, Lt. Driscoll (Brodie). I take it that Fuller is being as honest as possible about the often hostile relations between officers and enlisted men, especially intense (as I understand it) during WWII, which was Fuller’s formative war experience. Driscoll may have the authority to give orders, but he has to earn Zack’s respect — an inspired use of the steel helmet symbolism.

Another major theme is Fuller’s concern for racial equality, a touchy societal topic also ahead of its time. The concern for mutual help and understanding is obvious in the relationships Zack forms with the Korean boy (Chun) and the black corporal (Edwards). Zack doesn’t pander to the black soldier, but he does treat him as just that, a medic and a soldier, no more and no less. Fuller also puts the needed equality in a larger, national context when the North Korean major (Fong) tries to drive a racial wedge between the diverse members of the patrol. In fact, communist propaganda was often successful in Third World countries when pointing out the widespread racial discrimination within American democracy. Thus, Fuller’s implicit message was a bold and timely one for Cold War audiences.

It’s also important, I think, to point out that Sgt. Zack is not particularly likable. He’s ornery and unfriendly. Initially he tries to get rid of the kid, probably because he knows relationships in war can be risky. He doesn’t want to get close to anyone. In fact, it’s because he gets too close to the Korean kid that he makes a big military mistake by shooting the Red major. I like the way Fuller uses that blunder to bring Zack down a few notches. In effect, Driscoll expresses the officer’s point of view by saying that because of his blunder, Zack is too dumb to be an officer. Whether true or not, the dressing down prevents Zack’s character from being over-idealized, an important concession from a director clearly on the side of enlisted men like Zack.