Full Metal Jacket is a 1987 war drama film directed and produced by Stanley Kubrick, who also co-wrote the screenplay with Michael Herr and Gustav Hasford, Michael Herr Gustav Hasford. WAR IS HELL FULL METAL JACKET produced and directed by Mr. Kubrick; screenplay by Mr. Kubrick, Michael Herr and Gustav Hasford, based on Mr. Hasford's novel Short Timers; edited by Martin Hunter; director of photography Douglas Milsom; music by Abigail Mead; production designer Anton Furst; distributed by Warner Bros. at National, Broadway and 44th Street; Manhattan Twin, 59th Street east of Third Avenue; Theater on Eighth Street, west of Eighth Street; Movie Studio, Broadway at 66th Street; 86th Street East, between Second and Third Avenues. The script must sound good; it's Michael Herr, whose "Despatches" were probably memories of the Vietnam War; Kubrick and former Marine combat correspondent Gustav Hasford, whose devastating novel Short Times is being made into a movie. The scene is funny even on repeated viewings thanks to Kubrick's excellent understanding of comedy. [Sources: 2, 4, 8, 9]
Stanley Kubrick's full metal jacket looks flawless, and the photography highlights the claustrophobia of the barracks during the first few scenes and the peril of the wide open spaces later in the film. Like many films that trace the Vietnam War era "from a distance," Stanley Kubrick's Full Metal Jacket explores the dehumanizing effects of military training and combat on the human mind. The main training sequence in Full Metal Jacket will have the same lasting impact as the extended combat sequence towards the end of the film, culminating in a transcendent image of war and its horror. [Sources: 0, 7]
The reason Full Metal Jacket is such a great movie; this is because Kubrick spends time, a third of the film, to show the training and indoctrination that Marines go through during basic training. One of these recruits symbolizes the failure of the US effort during the Vietnam War against the American people, and although films such as Born on the Fourth of July (1989), this idea was best implemented in this training sequence. on the toilet) loads the full metal shell. [Sources: 1, 4]
One of these recruits cannot even enter into conflict, and in his eyes there is a war, a war within himself. One of these recruits is not your average boring American son going to a savage war, but rather a complex character with an interest in killing. [Sources: 4]
When the Joker lined up in Vietnam, the audience had a vested interest in the Joker's survival; this was due to Kubrix's ability to draw the audience into the full metal casing and connect them to the character. While Kubrick cared about people on both sides of the conflict, Kubrick understood that some things about the military experience were pleasing. According to director Stanley Kubrick, Vietnam itself evokes the duality of people: a person can desire peace and at the same time desire the opportunity to kill. [Sources: 1, 4, 6]
When Stanley Kubriks filmed a group of soldiers gathered around a writhing prisoner, in the ruins of a building that looked not just like a temple, but a military headquarters, the significance of their roles Sex is clarified by all, the image of visual epiphany is one that audiences can't forget, and combat reporters can't easily match. It's wrong to watch Stanley Kubrick films to simply generalize the point. Even his previous war film, Path of Glory (1957), was surprisingly anomalous at the time. Although Stanley Kubrick's "Full Metal Jacket" isn't usually considered one of Stanley Kubrick's A-list films, it represents his fourth anti-war outing as a director (following the After 53 Years of Fear and Desire, Road to Glory in 1957). and Doctor Strange love). Stanley Kubrick's all-metal jacket included two operations: the first at the U.S. Marine Corps towing facility at Parris Island, and the second on the eve of the Tet Offensive in Vietnam. [Sources: 0, 5, 7]
The second half chronicles the experiences of Leonard Lawrence and another member of a USMC platoon in the Vietnamese cities of Da Nang and Hue during the Vietnam War Tet Offensive. Kubrick shows us how his Marines, in the form of the indefatigable scatological gunnery sergeant Kubrick, demonstrate the deliberate and brutal dehumanization of recruits at the hands of their sergeant, who slows down Pyle's insanity and kills Pyle right after training camp is over. Alas, the sight of Private Pyle reciting the U.S. Marines' Sacred Creed and then shooting himself and his drill sergeant is certainly one of the most important and enduring images of the Vietnam War. [Sources: 1, 2, 4, 8]
Along with such masterpieces as Apocalypse Now and Platoon (but set in a different fragment of the conflict), Full Metal Jacket exposes the dehumanization of the Vietnamese people, the decay of morality, the contempt for blind loyalty, disorder and chaos, which are best obtained in training, and, most importantly, to the idea that war is hell. A well-contrasted soundtrack, tense action scenes (including a gripping sniper scene that would be challenged years later by Saving Private Ryan and The Marines), mesmerizing sets, great photography, and believable characters make for a heartwarming thriller, even if isolated fragments remain more memorable and meaningful than the film as a whole. Richard Corliss of Time called "Full Metal Jacket" a "TKO", praising "the dialogue, the wild and desperate spirit; audacity in choosing random skirmishes to emphasize the futility of wars", and "a fine and magnificent performance by almost all the actors", saying that Ermey and Donofrio would be nominated for Oscars. Chicago Sun-Times critic Roger Ebert panned the film's second half, stating that "Full Metal Jacket" breaks up into a series of separate scenes, none of which are satisfying enough, and concluded that the film's message is "too big." late '' based on other Vietnam War films. [Sources: 6, 8]
Film scholar Greg Jenkins says portraying Hartman's role as someone with warmer social relationships with other troops would upset the balance of "Full Metal Jacket," which is based on the spectacle of ordinary soldiers opposing Hartman as a force of nature that embodies a deadly culture. Kubrick's soundtrack is typically fast-paced and explosive, whether it's the heavy clatter of soldiers' boots (one of the many songs Stanley Kubrix uses is Nancy Sinatra's "These Boots Were Made for Walking"), the ubiquitous crackle of burning buildings, or the lingering bass note in "The end that never stops." [Sources: 3, 8]
