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; silent 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 attain wide commercial success, and 'Line' would be missed. Most, including anyone who reviews this film poorly, did not get it. This film is Video Poetry. In the same way that e.e. cummings would capitalize the letters R O U N and D through that wonderful poem about the round moon, the director laces the obvious bits of typical film (dialogue, acting) with constant thematic visual reinforcement. Man and nature are compared and contrasted. Just watch as the sun catches the blowing grasses in spectacular fashion before the field becomes a massacre. Our aims as a socitey are impeached. See the change in attitude between the native people and the formerly AWOL soldiers. There is an ugliness about it that you cannot help but feel. Something is intuitively wrong 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 buy the CDs- both are fantastic! I cannot believe that every soldier hazards the thoughts expressed in this film. Nor would I suppose it impossible that some in fact did. The war, however, is simply a device for the expression of some very valid 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 think about for months to come, spend a few hours with The Thin Red Line. The Thin Red Line
I already loved the film, so waited so patiently for Criterion to come out, as it simply HAD to come out, with a definitive edition. I read and posted on the various fora, sent the emails, re-tweeted the enigmatic and happy Twitpic that Criterion posted, jumped all over the Criterion newsletter when they came out with their gnomic icon confirmation. I got the Blu-Ray the day it dropped, and have spent the subsequent couple days in a kind of reverie. I just watched the film -- which is, full stop for effect, absolutely STUNNING in Blu-Ray. Every technical aspect, from the color to the surround-sound (I so love the use of Charles Ives' "The Unanswered Question" in the middle of a battlefield atrocity), is reference-quality AWESOME. I've yet to experience the commentary, but I've watched the insightful feature on James Jones and the novel from his daughter and listened to the chants; there's still the 15 deleted scenes and the wartime newsreels on Guadalcanal to go through, plus some other extras I'm sure. The essay is wonderful. If you think you experienced a religious ecstasy the first time you saw The Thin Red Line, just experience it again on this Criterion Blu-Ray and undergo true cinematic rapture.
** UPDATE ** I've watched all of the extra features, which are uniformly insightful and superb.
Commentary: This is by cinematographer John Toll, production designer Jack Fisk, and producer Grant Hill. Criterion commentaries are usually of three breeds, I find: hit-or-miss commentaries by film scholars (Peter Cowie's Bergman commentaries would be hits, the dull "you see the door in that shot? that door represents an opening" commentary on Solaris would be a miss), idiosyncratic commentaries by directors (Edward Yang, Jim Jarmusch), and then incredibly detailed production commentaries by people who worked on the production (The Last Metro, both Malicks). I like the director commentaries the most, since they usually combine both interpretation and production stories. The Thin Red Line commentary is completely about the production of the film, suffused with an almost worshipful regard for Terrence Malick. I found it a little dry. I would've liked discussion about, say, the poetry of the film -- the beautiful scene of Witt's mother dying, for example, which is like a Renaissance painting. Instead you hear that that scene was one of the last ones filmed.
Actors: An almost 30 minute featurette, featuring interviews with Sean Penn, Kirk Acevedo, Thomas Jane, Elias Koteas, Dash Mihok and Jim Cavaziel. I didn't find this particularly interesting; the actors uniformly fawn over Malick's genius and basically congratulate themselves for participating in the film.
Casting: A twenty minute featurette with the casting director, Diane Crittenden, featuring many audition tapes. Pretty interesting to see now well-known actors audition in the beginning of their careers (Nick Stahl, especially). Thomas Jane was quite the rockabilly.
Music: Hans Zimmer talks about his ambitious (he calls it "pretentious") ideas for the soundtrack of the film, particularly the idea that the music "should keep asking questions." I didn't realize that Zimmer had done the thoughtful music for Thin Red Line: it's so different from the sonic bombasts he's been doing lately.
Editing: Malick's team of editors, Billy Weber, Leslie Jones and Saar Klein discuss their work on their film. I found this feature to be the most interesting of the lot, particularly their discussion of how Malick pared the original 5-hour cut of the film (which, according to them, was plot-heavy, expository and filled with dialogue) into its current form, which is essentially a silent film layered with voiceover. Apparently Malick watched the assemblies with the soundtrack out, listening instead to Green Day. Who knew Terrence Malick liked Green Day?
Deleted Scenes: These fourteen minutes of deleted scenes show what a different movie The Thin Red Line could have been: they're basically straightforward dialogue and action scenes, with little or no voiceover or music. One of the events that actually happened to James Jones that he put into the novel -- he was surprised by an enemy soldier while taking a crap, and managed to kill him -- turns out to have been filmed after all. Another scene shows George Clooney displaying some fine actorly chops.
Kaylie Jones: James Jones' daughter talks about her father and the writing of The Thin Red Line in an illuminating featurette.
Newsreels: Ten 2-minute newsreels from 1942 talk about the American involvement in the Solomon Islands and Guadalcanal in an incredibly gung-ho, Celebrate Our Boys fashion. It's an amazing counterpoint to the film.
Melanesian chants: Audio-only feature on the native chants used in the film.
Trailer: Watch this after you've seen the film, since like most trailers it completely gives everything away. - Terrence Malick - War - Adrien Brody - Sean Penn'
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