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The same week I saw ‘Saving Private Ryan’, I saw ‘The Thin Red Line’. I left the theater both times with the same reflective shock; quiet for the drive home despite the questioning of my friends. In hindsight, I could have told you who would say what about these two films. ‘Ryan’ would achieve wide commercial success, and ‘Line’ would be missed. Most, including anyone who reviews this film poorly, did not catch it. This film is Video Poetry. In the same arrangement that e.e. cummings would capitalize the letters R O U N and D through that incredible poem about the round moon, the director laces the clear bits of typical film (dialogue, acting) with constant thematic visual reinforcement. Man and nature are compared and contrasted. Unprejudiced observe as the sun catches the blowing grasses in spectacular fashion before the field becomes a massacre. Our aims as a socitey are impeached. Behold the change in attitude between the native people and the formerly AWOL soldiers. There is an ugliness about it that you cannot befriend but feel. Something is intuitively improper with everything going on, and the subtle suggestion of this fact is presented with difinitive dilligence. The sleeper of this film is the masterfully placed musical score- seamlessly woven through the fabric of tension and release- sometimes a backdrop, sometimes running thick over the dramatic action for reinforcement. Go acquire the CDs- both are wonderful! I cannot acquire that every soldier hazards the thoughts expressed in this film. Nor would I sigh it impossible that some in fact did. The war, however, is simply a intention for the expression of some very good points. If it makes you reconsider your preconceptions of what goes on in GI Joe’s mind, all the better. If you are after an easily accessable night in front of the boob tube, go for Private Ryan. If you’d like something to deem about for months to approach, utilize a few hours with The Thin Red Line.
“The Thin Red Line” had the severe unpleasant luck of being released in the shadow of one of the most favored current war films of all time, “Saving Private Ryan.” Oscar buzz was all the rage for that film, which focused on the war in Europe as well as patriotism and courage. “The Thin Red Line” chooses to focus more on the human beings at war than the country or mission for which they are fighting. It dives deep into the subconscious of its characters, exposing their feelings in the face of battle and carnage. Though heavily stylized, director Terrence Malick knows where the movie is going, and takes it there in saunter.
Spanning a running time of impartial short of three hours, we’re taken on a high-tail to Guadalcanal, where American troops are landing on the sandy beaches only to encounter a foe that, for a while, seems unbeatable. Their mission: to assume over an airstrip and give America an advantage in the Pacific War. It is here that the characters are established: First Sergeant Welsh (Sean Penn), whose only wish is to lose all feeling for the events he experiences; Lt. Colonel Immense (Crop Nolte), obsessed more with his image than with sincere victory; Private Witt (Jim Caviezel), a serene, almost spiritual soldier with a soft yet firm heart; and Private Bell (Ben Chaplin), whose memories of his wife are what fuel his drive to fulfill his mission so he may return home.
Like “Ryan,” this film has intense images of graphic violence associated with war and battle. While Malick does not spend the same technique as Speilberg, whose film is gritty and never without unsteady camera shots, his slow-motion captures, lop to the worthy pick up of Hans Zimmer, are objective as arresting and mighty. Scenes that stick out in the mind are the Americans’ buy of a Japanese bunker on a hill, while their raiding of an enemy camp is one of the most provocative pieces of cinematic masterpiece I’ve ever seen in any film.
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The second half of the film takes us to where the valid focus of the movie has been all along. After their mission is accomplished, the regiment is given a week of rest, during which time each of the characters is given a chance to think on the experiences of the previous day. Some of them ask their have existence in the face of such brutality, while others try to cope with the fact that they have committed assassinate. The movie is quick-witted for its ability to separate one’s feeling of victory with their latter realizations of the acts they have taken section in.
One apt after another, the movie brings out unheard of emotions that will whisk even the hardest of cynics and critics. The images of war, people crying out for attend, breathing their last, and objective the frenzied, frantic bravura of it all is deeply intriguing, one of the best war portrayals to date. The psychological examinations are also very heartfelt, establishing the soldiers as characters, and more than mere pawns in a game of war. Each of them has a monologue that plays during the movie, their thoughts and feelings effect into poetry for the shroud.
While the movie is particularly preferential in its choice of which characters deserve more camouflage time, the performances turned in by each actor are masterpieces in themselves. Penn is forceful as the hard yet movable Welsh, while Nolte is believably stern and unrelenting as Col. Sizable. Ben Chaplin is perhaps the most emotional character, Private Bell, who is shocked by thoughts of his wife benefit home. And Caviezel is an fabulous addition to the cast as Witt, whose simplistic plan of the world sets the mood for some of the movie’s most grand scenes and monologues.
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Even those not partial to war films may favor the grandeur and spectacle of “The Thin Red Line.” A stirring war memoir and an intense coast into the mind are swirled into an absorbing movie that tugs at the heartstrings with such a grip you have no choice but to go along with it.
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