Sam Peckinpah’s 1978 film, Cross of Iron, is a groundbreaking war movie known for its intense violence and anti-militaristic themes. The film opens with a striking credit sequence featuring archival World War II footage, set to a haunting score by Ernest Gold. Peckinpah’s meticulous editing blends historical clips with the film’s narrative, showcasing his talent. The film stars James Coburn and Maximilian Schell, highlighting the brutality of war without romanticizing it. Cross of Iron is available on VOD, DVD, and Blu-ray.
Sam Peckinpah’s distinctive war film, Cross of Iron, which premiered in 1978, stands as one of the most exceptional entries in the genre. This powerful cinematic piece is marked by its intense violence, a stark contrast to the misconceptions of its time that accused Peckinpah of glorifying brutality. Instead, his intention was to shock and repel the audience.
Despite facing numerous challenges during production, Peckinpah succeeded in crafting a film that is fiercely anti-militaristic, devoid of any romanticism or heroism. The breathtaking visuals, thanks to the talented cinematographer John Coquillon, combined with Peckinpah’s expert editing, amplify the film’s impact. The movie features a riveting showdown between the talented James Coburn, who at 48 thought he might be too old for his role, and Maximilian Schell, who portrays the antagonist, Officer Stransky.
The Memorable Opening
‘Good Kill!’ is the first line spoken by James Coburn’s character, Steiner, and it comes after a suspenseful wait of over seven minutes. Peckinpah introduces Cross of Iron with a stunning opening credit sequence, arguably one of the finest ever created.
While many directors treat opening credits as a mere formality, Peckinpah views them as an art form in their own right. This sequence can almost be considered a short film, effectively establishing the tone and narrative backdrop for the film that follows. Peckinpah had previously showcased his talent for captivating opening credits in films like The Wild Bunch, Pat Garrett and Billy the Kid, and The Getaway, the last of which features an impressive 8-minute sequence with minimal dialogue, employing his signature freeze frame technique.
Spanning 4 minutes and 19 seconds, the credits of Cross of Iron are primarily composed of archival World War II footage, accompanied by the haunting score of composer Ernest Gold. The music alternates between solemn and martial themes, including a 19th-century German children’s song, Hänschen Klein, which narrates the journey of a boy growing into manhood.
The credit sequence begins with children from the Hitler Youth, preparing for war as they are molded into soldiers for Adolf Hitler. Each verse of the children’s song culminates in a freeze frame that transitions to a red screen, with the music shifting to a more conventional film score.
Unearthing Hidden Historical Footage
In the audio commentary of the recent 4K release, filmmaker and historian Mike Siegel elaborates on the extensive research Peckinpah conducted for Cross of Iron.
‘The opening scene may have been influenced by Sam Peckinpah’s research on the Eastern Front’s history. He accessed American military archives in Germany during the mid-70s, which were not available to Germans at the time. These archives contained footage that was not disclosed to the public until much later, appearing in various documentaries.’
Siegel notes: ‘In the 70s, many war films opened with archival footage from World War II, such as The Eagle Has Landed and A Bridge Too Far. However, they featured only brief clips from war newsreels. The opening of Cross of Iron showcases Peckinpah’s editing prowess, even though he wasn’t the sole editor.’
Masterful Editing Choices
The selection of imagery in the opening sequence is anything but random. It includes not only Hitler’s mass gatherings but also scenes of him at his Eagle’s Nest in Berchtesgaden, where he made some of his most catastrophic decisions, surrounded by guests and his companion, Eva Braun.
These moments of joy starkly contrast with harrowing visuals of executed individuals, charred corpses, and the devastating confrontations faced by the German army at Stalingrad, a pivotal moment in the conflict. The footage captures columns of refugees and German soldiers surrendering to the Russians, including the moment General Von Paulus capitulated on January 31, 1943, despite Hitler’s orders to fight to the death—marking the beginning of the end.
The credits denote ‘The retreat’ at 2:48, situating the narrative in the Taman Peninsula during 1943, an area in southwestern Russia that would soon be reclaimed by the Red Army. Starting at 3:46, Peckinpah cleverly blends footage from the film itself, featuring James Coburn on a reconnaissance mission. The seamless transition from authentic wartime footage to his own film is nearly imperceptible, a testament to his skill in matching visual tones and grain.
Color is introduced subtly at 3:52, utilizing archival footage from a likely Nazi party rally in Nuremberg, filmed in Agfacolor, a color process developed by the Germans in 1936.
Interested in experiencing or revisiting Cross of Iron? The film is available for viewing on VOD, as well as in DVD and Blu-ray formats.