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Movie Title: Full Metal Jacket Full Metal Jacket is available for streaming or downloading. |
Stanley Kubrick has been quoted as saying that with Stout Metal Jacket, he wanted to beget a war film, as opposed to an ANTI-war film. Condemning war is easily. It’s a suitable no-brainer. Trying to understand its nature is something far more exciting. As a result, Paunchy Metal Jacket does something far more subtle and difficult than simply affirm us that War is Hell (although it does that, too) . To understand what and how, one must deem the film’s structure:
Full Metal Jacket is split brutally into two parts, the first of which follows our hero, Private Joker (Matthew Modine) through basic training at Parris Island. A paunchy, slow-witted misfit named Leonard Lawrence (Vincent D’Onofrio in an effective performance) is pushed too hard by the sadistic drill instructor Hartmann (R. Lee Ermey), and ends up killing both Hartman and himself in the Huge Guignol blackout sketch that ends piece one.
It is at this point that many people have pains with Burly Metal Jacket, as the second half jumps to Viet Nam with no warning. Although Joker and another character named Cowboy (Arliss Howard) carry over from the first allotment of the film, they never so mighty as talk about Parris Island or the murder-suicide that marked their training there. It is as though that event happened in another universe, or at least a different movie.
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The key to this apparent gaffe in record cohesion is contained in a scene where Joker is confronted by a Major over having “Born to Demolish” scrawled on his helmet at the same time he wears a peace symbol on his flak jacket.
“I was trying to say something about the duality of man,” he says, “…the Jungian thing, SIR!”
Duality of man; duality of film. There are (in the film’s developing thesis) two possible motivations for killing people and breaking things – compassion (to defend freedom and turn wait on despotism; our OFFICIAL purpose in Viet Nam), and annihilation (the perverse joy of revenge, of domination; of blood-soaked victory) .
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Which motivation is more “proper”? Which leads to the “high-ground”? Doesn’t annihilation always entail suitable decay? And doesn’t compassion always lead, ultimately, to peace, rather than violence? Through Joker’s scramble, from killer-in-training to killer-in-fact, we bag a disturbing acknowledge that, by its very simplicity, defies the kind of dumbed-down platitudes most war films (even really salubrious ones like Kubrick’s possess Paths of Glory) try to feed us. The destroy finds Joker facing a wounded, disarmed sniper who has killed several of his fellow soldiers, as well as his best friend. In a typically Kubrickian reversal, the sadistic thing would be to “…leave her to the mother-lovin’ rats…” (in other words, leave her in PEACE), rather than enact her off, which seems the more humane choice (through a paradoxical act of VIOLENCE) . The sniper, a teenaged girl, even begs Joker to shoot her. It seems a simple, humanitarian act when he finally pulls the trigger, but in a long, ambiguous close-up on his face, we survey the same demon lurking in Joker’s eyes that frightened Lawrence benefit in Parris Island, fair before he killed Gunnery Sergeant Hartman, then himself. The connection is clear; even the same music cue (by Kubrick’s daughter Vivian, under the pseudonym of “Abigail Mead”) can be heard on the sound track. By setting up a state where both possible choices (to destroy or not to demolish) seem at once sadistic and kind, virtuous and substandard, we are forced to leer the status on a more abstract level – where words fail, but a inferior insight reveals itself. The nature of war, it seems to suggest, is the nature of mankind – and vice-versa.
Kubrick’s production values are genuine. The DVD looks and sounds quite proper, given the source material (Kubrick’s muted palette is deliberate; his recent sound mix was a fairly compressed monaural track) . One particular exercise of a Steadicam with a slightly longer-than-ideal lens is inspired, giving us a plan shaky enough to seem “genuine” but collected enough to be fluid.
In the Kubrick canon, Beefy Metal Jacket is a hotly debated film. Whether you cherish it or abominate it, objective remember: it’s a Jungian thing.
If you’re a fan of this film like me and had bought the Blu-Ray or HD-DVD before and plan “This is hi-def? “, then you’re in for a treat. This newly remastered version has a sharper narrate and better color image and original commentaries to boot. While not as aesthetic a transfer as “The Lustrous” or “2001″, this is collected a powerful improved re-release. Trade in your ancient copy and prefer with confidence.
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