In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A mentally unstable Vietnam war veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
A two-segment look at the effect of the military mindset and war itself on Vietnam era Marines. The first half follows a group of recruits in boot camp under the command of the punishing Gunnery Sergeant Hartman. The second half shows one of those recruits, Joker, covering the war as a correspondent for Stars and Stripes, focusing on the Tet offensive. Written by
Scott Renshaw <firstname.lastname@example.org>
It is a common misconception that much, if not all, of R. Lee Ermey's dialogue during the Parris Island sequence was improvised. In several interviews Ermey himself has stated that he worked closely with Kubrick to help mold the script so that it was more believable, all while retaining certain dialogue crucial to Kubrick's vision. While filming the opening scene, where he disciplines Pvt. Cowboy, he says Cowboy is the type of guy who would have sex with another guy "and not even have the goddamned common courtesy to give him a reach-around". Stanley Kubrick immediately yelled cut and went over to Ermey and asked, "What the hell is a reach-around?" Ermey politely explained what it meant. Kubrick laughed and re-shot the scene, telling Ermey to keep the line. See more »
Rafterman carries spare 35mm film canisters on his helmet. The canisters he is carrying are made of plastic. In the 1960s film canisters were made of aluminum. See more »
Gunnery Sergeant Hartman:
I am Gunnery Sergeant Hartman, your senior drill instructor. From now on you will speak only when spoken to, and the first and last words out of your filthy sewers will be "Sir". Do you maggots understand that?
[In unison in a normal speaking tone]
Sir, yes Sir.
Gunnery Sergeant Hartman:
Bullshit I can't hear you. Sound off like you got a pair!
[In unison, much louder]
SIR, YES SIR!
Gunnery Sergeant Hartman:
If you ladies leave my island, if you survive recruit training, you will be a weapon. You will be a minister of death praying ...
See more »
Kubrick - yay! One of the best war-based movies ever
I like Kubrick's stuff. Generally any movie he directed was several notches, in quality terms, above any other director (particularly those working nowdays). Does `Full Metal Jacket' continue to show the mastermind behind `2001', `The Shining' and `Dr. Strangelove'? Yup, it does.
As plots go. there isn't much here. I don't particularly care because the script makes up for it. `Full Metal Jacket' is very much a movie of two halves - the first half dealing with a group of conscripts in training at military camp and the hardships they endure under their `hard-as-nails' instructor. The second half is about their exploits in Vietnam itself. Fights? In 'Nam? Haven't we seen all that before? Yes, but rarely with such an experienced hand at work. And it's the camp scenes that are so wonderful.
Gustav Hasford et. Al. have produced an excellent script, particularly for the opening hour. There's barely a moment's pause before you're thrown into the screaming face of Sergeant Hartman. He's hurling abuse at his new recruits with lines so forceful and sharp they'll have you gasping in shock while simultaneously laughing in incredulity. It's the way the script runs in without a pause for breath that helps so wonderfully - and the fact that it's so powerful. It's never just about one-liners from a sergeant, it's also telling a story about how humans work under these conditions. The first half is about how they suffer under their own at home (and very well told it is too), the second half about the human condition under the duress of war. It's an interesting comparison, and a tale well told. The battle may lack some sort of overall context or resolution, but then I feel that's in keeping with the movie - it's about the individual, and not the war, and such elements cannot be easily quantified.
All the characters have a grounded `real world' feel to them, due to both the material and the versatility of the actors. R. Lee Emery is viciously delightful as the manic Sergeant Hartman, while managing to add occasional touches of humanity and a `this is for your own good' attitude through subtle gestures. Matthew Modine is the amiable lead, Private Joker, and as such balances the hard and soft edges admirably (if not spectacularly). The other stand out though is Vincent D'Onofrio as Private Gomer Pyle, the recruit picked upon by Hartman and the other cadets. There's a wonderful innocence about him in the beginning, which transforms into a frightening hardening of his soul later on. The evil/beyond-hope look he gives later on (anyone who has seen the movie will know the one I mean), remains as the most frightening look I've ever seen depicted onscreen. All in all the cast accredit themselves well here.
And so to the direction. It's Kubrick. It's good. Once more there's excellent cinematography - check out the haunting, almost claustrophobic landscapes of Vietnam. There's some lovely use of filters (that haunting blue). There's a brilliant subtle score, that's eerie when used, but never intrusive. There's a very good command of pace - the viewer is never left idle or bored, and the story (particularly in the tremendous first half) flows along smoothly. Great touches abound throughout - check out the many examples, such as the opening scene of Hartman marching right up to the recruits (and to the camera), spitting and screaming vindictive comments, almost as if at the viewer. Some may criticise the almost disconnected feeling you have in the battle scenes towards the end, but I found their stillness, their quietness, and raw power, far more effective than the flash-bang wizardry employed in tripe such as `We Were Heroes'. I can blather on about Kubrick for ages. so I'll stop now.
Is `Full Metal Jacket' perfect? Not quite because of the `two halves' syndrome. Although they do contrast and complement one another, the first half is very much the stronger half. The second feels weaker against it. In and of itself the second half would normally be regarded well, but it doesn't have the visceral power that the first does. I love both bits, but I do love one bit more. This makes the movie suffer just a little. There's so much to like here though that I can't criticise too much - and so much to cherish (especially in the lines delved out). Once more the main man succeeds. Definetely worth seeing. 9/10.
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