The Thin Red Line (1998)

Adaptation of James Jones' autobiographical 1962 novel, focusing on the conflict at Guadalcanal during the second World War.

Director:

Terrence Malick

Writers:

James Jones (novel), Terrence Malick (screenplay)

Stars:

Jim Caviezel, Sean Penn, Nick Nolte

Nominated for 7 Oscars. Another 21 wins & 40 nominations.

Cast

Cast overview, first billed only:
Kirk Acevedo	...	Pvt. Tella
Penelope Allen	...	Witt's Mother (as Penny Allen)
Benjamin Green	...	Melanesian Villager (as Benjamin)
Simon Billig	...	Lt. Col. Billig
Mark Boone Junior	...	Pvt. Peale
Adrien Brody	...	Cpl. Fife
Norman Patrick Brown	...	Pvt. Henry
Jim Caviezel	...	Pvt. Witt
Ben Chaplin	...	Pvt. Bell
George Clooney	...	Capt. Bosche
John Cusack	...	Capt. John Gaff
Jarrod Dean	...	Cpl. Thorne
Matt Doran	...	Pvt. Coombs
Travis Fine	...	Pvt. Weld
Paul Gleeson	...	1st Lt. Band

Storyline

U.S. Army Private Witt (AWOL) is found and imprisoned on a troop carrier by his company First Sergeant, Welsh.The men of C Company,1st Battalion,27th Infantry Regiment,25th Infantry Division have been brought to Guadalcanal as reinforcements in the campaign to secure Henderson Field and seize the island from the Japanese. They arrive near Hill 210, a key Japanese position. Their task is to capture the hill at all costs. What happens next is a story of redemption and the meaninglessness of war. Regardless of the outcome.

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Plot Keywords:

battle | tropical island | jungle | guadalcanal | hill | 

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Taglines:

Every man fights his own war.

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Genres:

Drama | War

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Motion Picture Rating (MPAA)

Rated R for realistic war violence and language

Did You Know?

Trivia

The first film for writer and director Terrence Malick in twenty years. His last one being Days of Heaven (1978).

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Goofs

Despite the suggestion that the reference to an "Air Force Captain" was not a goof because the "US Army Air Forces" had been renamed (formerly "Air Corps") in 1941, the term "Air Force" was never used in WWII. The character's wife would have said "Air Corps Captain," because that term was used in everyday speech throughout the war.

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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?

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Crazy Credits

Composer Wrangler. . . Moanike'ala Nakamoto

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Connections

Referenced in The One Show: Episode dated 23 January 2018 (2018)

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Soundtracks

Sit Back and Relax
Written & Performed by Francesco Lupica

User Reviews

Wittgenstein's Red Line of Abstraction

I met Malick in 68-69 at MIT where I was taking a degree in philosophy. MIT had the decade before gone through a soul-searching re-evaluation of the type of scientist it was producing, and concluded that they could do much better in working toward well-rounded citizens. So by the end of the 60's they had collected - for a few years only - perhaps the strongest collection of newly emergent thinkers in the humanities. And it was quite a rich stew of ideas for a young person, the most exciting place in the world for the humanities for perhaps five years.

Malick came in with this pack, concerned with newly emerging ideas about meaning and language. The philosophy establishment was forming a new split (US and Continentals) largely characterized by how to reinvent Wittgenstein's insights but with a more friendly rationale. Chomsky was shaking one world, formal abstraction for computers another. Exciting --- moreso than today. But Malick was not a verbal communicator, nor a logician, nor an academic (all sides of the same thing). So he dove into practical visual semiotics.

He is not a brilliant man, merely a journalist. But he does seem to be particularly honest and understands some damned good, solid, human ideas compared to other filmmakers. One can really see this early MIT exposure in 'Red Line.'

We can thankfully forget plot -- there is not meant to be any story. In fact, the war is only used here as a canvas of motion, abstractions of 'regular' life, colliding and sometimes adhering to souls, sometimes destroying them. The device is to build the film around the sounds: narrative voiceovers (current and remembered), natural sounds, haunting music. The images are attached to the sounds, which are derived from abstractions. This is exactly the reverse of Spielberg, which is why there cannot be any comparison to 'Private Ryan,' or any other film that is 'about' something. It is why Malick can never 'explain' his films.

The execution is hypnotic. I wonder what the six-hour version is like. The editing (and particularly of the sound) is unusual, so transports us beyond the strangeness of tropics, war, history. That editing is much like Van Morrison's music: it establishes the rhythm only as a reference to dance around, peeking in and out. The relationship of the rhythm within the shots to the rhythm of the shots is very bluesy.

Having no story opens new possibilities and creates unfamiliar problems. An opportunity is that the film can have many centers: the meditator in the midst of the attack on the camp; the squabble of the villagers; the transport of the ship; the need to look at our own dogtags. The challenge is how to end. When you stick to a formula like Spielberg, you just turn the crank and the climax lifts and comes down, and the story finishes. No story, no formula, so Malick brackets with the transport to and from the island, by the aging of the southern rookie, and by the exit from and re-entry to a world of unfamiliar characters. That they are played by familiar actors (Travolta, Clooney) oddly emphasizes the point.

It must have been educational to work on this film, which is why every intelligent actor (or an actor with an intelligent agent) wanted to participate: one can see direct influence in Penn's 'The Pledge' and Cusack's 'High Fidelity,' both highly abstract.

Penn knew exactly what he was doing here. He moves in the action, as an actor must. But he places his character offscreen in the abstract voiceovers. That's the 'real' Welsh, and the film's image only an abstraction. He truly understands presenting many dimensions simultaneously. Harrelson doesn't, but that's the point with Keck. I wonder why Depp didn't make the cut?

Details

Country:

USA

Language:

English Tok Pisin Japanese Greek

Release Date:

15 January 1999 (USA)

Also Known As:

The Thin Red Line

Filming Locations:

Los Angeles, California, USA

Box Office

Budget:

$52,000,000 (estimated)

Opening Weekend USA:

$282,534, 27 December 1998

Gross USA:

$36,400,491

Cumulative Worldwide Gross:

$98,126,565

Company Credits

Production Co:

Fox 2000 Pictures, Geisler-Roberdeau, Phoenix Pictures

Technical Specs

Runtime:

170 min 215 min (rough cut)

Sound Mix:

DTS Dolby Digital SDDS

Color:

Color

Aspect Ratio:

2.39 : 1