When I originally started to write about Robert Aldrich in the early days of this blog, I formulated a list of some of Aldrich's main themes and recurring story elements. Aldrich was a true auteur in so far as his private universe is distinctive and consistent across the entire body of his work. Aldrich had contempt for authority, a deep hatred of Hollywood myth-making, and a preference for protagonists who are individualists caught in a suffocating system. I also had the idea--maybe the main idea when I look at his films--that he made Gothics, and not just the pair of psychobiddy films he made in the early 1960s. One of the key films in my thinking is The Dirty Dozen (1967). On the surface it doesn't seem much like a Gothic film. It's a classic "men on a mission" film--at this point half a century later it's probably THE classic "men on a mission" film--which seems far removed from brooding castles and ghosts and madwomen in attics. But let's look at some of the elements of the Gothic: sublimated sexual derangement, confinement as a microcosm where personalities and psychological forces collide, a sense of encroaching doom, characters haunted by past crimes, a big house that is a character unto itself. Many Gothics--maybe even most of them--are psychoanalytic in nature. If we look closely at the elements of The Dirty Dozen, most of these hallmarks are actually there, including the psychoanalytic nature. This is the frame into which Aldrich slips his own private obsessions. The Dirty Dozen is one of the key works on his resume. Even if it hadn't been a gargantuan hit, it would be an important film. It was a gargantuan hit, though. It was the highest grossing film of 1967. Its success enabled Aldrich to form his own production company in order to keep working on more personal projects, at least until he found another gargantuan hit. It took him a while to find that next hit, and he went through The Dirty Dozen's capital--both social and commercial--in due course. But that, as they say, is another story.