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The Thin Red Line (1998) 7.6
Ratings:
7.6/10 from 99,446 users
Metascore: 78/100
Reviews: 1,413 user | 154 critic | 32 from Metacritic.com Director Terrence Malick's adaptation of James Jones' autobiographical 1962 novel, focusing on the conflict at Guadalcanal during the second World War. Director:Terrence Malick |
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Cast
| Cast overview, first billed only: | |||
| Nick Nolte | ... | ||
| Jim Caviezel | ... | ||
| Sean Penn | ... | ||
| Elias Koteas | ... | ||
| Ben Chaplin | ... | ||
| Dash Mihok | ... | ||
| John Cusack | ... | ||
| Adrien Brody | ... | ||
| John C. Reilly | ... | ||
| Woody Harrelson | ... | ||
| Miranda Otto | ... |
Marty Bell
|
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| Jared Leto | ... | ||
| John Travolta | ... | ||
| George Clooney | ... | ||
| Nick Stahl | ... |
Pfc - Beade
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Edit
Plot Summary
|
Plot Synopsis
Storyline
In World War II, the outcome of the battle of Guadalcanal will strongly influence the Japanese advance into the Pacific theater. A group of young soldiers is brought in as a relief for the battle-weary Marines. The exhausting fight for a strategically-positioned airfield that allows control over a 1000-mile radius puts the men of the Army rifle company C-for-Charlie through hell. The horrors of war form the soldiers into a tight-knit group; their emotions develop into bonds of love and even family. The reasons for this war get further away as the world for the men gets smaller and smaller until their fighting is for mere survival and the life of the other men with them. Written by Julian Reischl <julianreischl@mac.com>
Taglines:
Every man fights his own war.Motion Picture Rating (MPAA)
Rated R for realistic war violence and language | See all certifications »Parents Guide:
View content advisory »
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See full technical specs »
Details
Country:
USARelease Date:
15 January 1999 (USA) See more »Also Known As:
La delgada línea roja See more »Box Office
Budget:
$52,000,000 (estimated)Opening Weekend:
£83,657 (UK) (26 February 1999)Gross:
$36,385,763 (USA) (7 May 1999)Company Credits
Show detailed
company contact information
on
IMDbPro »
Technical Specs
Runtime:
Color:
ColorAspect Ratio:
2.35 : 1
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Private Edward P. Train: What's this war in the heart of nature? Why does nature vie with itself? The land contend with the sea? Is there an avenging power in nature? Not one power, but two?
See more »
from "Requiem"
Composed by Gabriel Fauré
Performed by Orchestre de la Suisse Romande
Conducted by Armin Jordan
See more »
Did You Know?
Trivia
Terrence Malick changed Elias Koteas's character's name so late in the production that the costume can be seen with the name Stein on it, not Staros. See more »Goofs
When we first see the American patrol boat, a surfboard is lying in the foreground. It's a shortboard, which was introduced in the late 60's. See more »Quotes
[first lines]Private Edward P. Train: What's this war in the heart of nature? Why does nature vie with itself? The land contend with the sea? Is there an avenging power in nature? Not one power, but two?
See more »
Crazy Credits
Composer Wrangler. . . Moanike'ala Nakamoto See more »Soundtracks
"In Paradisum"from "Requiem"
Composed by Gabriel Fauré
Performed by Orchestre de la Suisse Romande
Conducted by Armin Jordan
See more »
what many people do not know is that this film, directed by terence malick, is without question the reason that Shakespeare in Love won the best picture oscar over the much favored Saving Private Ryan. why am i saying this? first let's deal with the movie. long? yes. too much? sometimes. but is it good? i can not begin to describe the beauty of this film.
about the oscars, i only watched the film after its surprise nomination for best picture. i had seen the competition already, and it was time to check out the fifth nominee. i went to the theatre myself, and came out three hours later, went home, and i cried. not only because i was disturbed, but i loved every single character in the film. i wanted to be there for them, cry with them, fight their battle. many people who have watched the film have said the same thing to me.
the Thin Red Line is sometimes painful to watch, but only because of its realistic juxtaposition of humanity, philosophy, and the terror of war. the film does not delve into any historical fact about Guadalcanal, except that the battle itself was terrifying (as is any battle). the characters introduce themselves through voice-over narration, which accompanies much of the action. and speaking of action, there is not much in the film. more images. images of war and the lives these soldiers left behind. this was Terence Malick's intent, of course, and many people were insulted and thought it was his own pretentious self getting the best of him. "boy he's a genius.. must he show it??" sometimes it is a little pretentious, but the film would've been "just another WWII film" if it was out of Malick's hands.
i can not understand why Sean Penn is billed as the top actor or the main character of this film. he was there a lot, but the film is carried by Jim Caviezel as the beautiful and ethereal private Witt. words can not describe this performance. with as few lines as he had, Caviezel portrays the symbolic soul of Witt, and by the end of the film he will break your heart. also excellent performances from Nick Nolte and the understated Elias Koteas, who can stretch creepy (Crash) to sympathetic in the blink of an eye.
now.. let's consider hollywood. sure they love Spielberg, and sure Private Ryan was a masterpiece (and it really was), but nobody even expected the Thin Red Line to get seven oscar nods, especially for best picture. but Shakespeare in Love was the crowd pleaser, and the other two were epic war films. most hollywood "artsy" people are anti-war.. kind of like the Thin Red Line. Private Ryan seemed to be MUCH more patriotic "pro-america" than the other. so if we've got anti-war on one side, and patriotism on the other... open and shut. the votes were split between the two, and Shakespeare emerged victorious. too bad.
anyway... the Thin Red Line was definitely better than Shakespeare, and definitely a completely different film from Spielberg's. John Toll's cinematography and Hans Zimmer's score work together to convey the tone of Malick's lyrical and poetic direction, and both should have won oscars. this film is nothing short of breath-taking, though understandably not for the average american moviegoer.