War Film: Djinn

Abishai100

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Sep 22, 2013
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The Thin Red Line [1998] is American ensemble epic war film written and directed by Terrence Malick. Based on the novel by James Jones, it tells a semi-fictionalized version of the Battle of Mount Austen, which was part of the Guadalcanal Campaign in the Pacific Theater of World War II. It portrays soldiers of C Company, 1st Battalion, 27th Infantry Regiment, 25th Infantry Division, played by Sean Penn, Jim Caviezel, Nick Nolte, Elias Koteas and Ben Chaplin. Although the title may seem to refer to a line from Rudyard Kipling's poem "Tommy", from Barrack-Room Ballads, in which he calls foot soldiers "the thin red line of heroes",referring to the stand of the 93rd Regiment in the Battle of Balaclava of the Crimean War, it is in reality a quote from Jones's book which reads, "they discover the thin red line that divides the sane from the mad... and the living from the dead..." (source of information: Wikipedia).

This is an epic and sweeping film (if a bit overdone) featuring an incredible star-studded cast (including movie superstars not mentioned above --- George Clooney, John Cusack, Woody Harrelson, and John Travolta).

This Malick film presents to audiences the haunting notion that the 'drama' of war itself can be found not in the hail of bullets and enemy-recognition but in the coldness of a wrath-filled sky that turns men into philosophers. It's the same approach to 'war-storytelling' seen in All Quiet on the Western Front and The Pianist.

The star-studded cast symbolizes perhaps Malick's intention to infuse with cinematic art the discovery that the loss of human life (during wars) makes humanity think about the problem of 'political insanity.'

We can therefore use The Thin Red Line to create a dialogue/discussion about 'wartime patriotism.'

Such thinking seems representative of America under the capitalism-subjective Trump Administration...



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MICHAEL: Man's nature is to compete.
SATAN: That's why teamwork can be so humiliating.
MICHAEL: Very few educators focus on the glory of teamwork.
SATAN: That's because even in America, competition is encouraged in schools.
MICHAEL: All Quiet on the Western Front should be in the curriculum of every high school.
SATAN: Unfortunately, every school has a right to determine its own curriculum preferences.
MICHAEL: You're saying if it's required reading in every high school, it will be considered propaganda?
SATAN: That's correct. They should just make a star-studded film that millions of Americans would watch!
MICHAEL: The Thin Red Line is a star-studded film pensive about the tragedy of manmade wars.
SATAN: Then it seems that many Americans would see it and then talk to their kids about it.
MICHAEL: That's correct. Unfortunately, movies are considered 'low-brow entertainment.'
SATAN: If a movie presents mental conditions maturely, the socially relevant ideas/symbols will come across.
MICHAEL: That's true. People don't necessarily find clowns at a circus odd or silly (or non-intellectual).
SATAN: What does The Thin Red Line say about the shock of war?
MICHAEL: Malick (the director) suggests that entering a war is like entering a planet inhabited by aliens.
SATAN: I see, so people are compelled to meditate on discomfort. However, competition is thrilling...
MICHAEL: True, but as you compete (and win or lose), you have to think about teamwork.
SATAN: Malick then is someone similar to Freud or Howard Cosell.
MICHAEL: Correct. He provides a 'mob psychology quill.'
SATAN: In that case, The Thin Red Line is not unlike The Omen.
MICHAEL: Perhaps the AntiChrist will be a movie-star who makes war-films.
SATAN: Surely, such an 'adversary' would suggest war is an 'itch'!

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The Thin Red Line (Wikipedia)

The Thin Red Line (123movies)



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One of my favorite war flicks among many. HELL IN THE PACIFIC is another with Lee Marvin which is in the same vein. Don't ruin these masterpieces with you politicizing bastardizations. Afterall, only the dead see the end of war, idjit.
 
War is Hell

I didn't mean to imply that politics colors our perception of The Thin Red Line or takes away from its artistic merits. I think Malick is a fine film-maker, and The Thin Red Line is actually one of my favorite films.

The point I'm trying to make is that what makes this Malick film unique is that it draws out our more thoughtful war/angst storytelling, which makes it a real 'sociological potion.' Isn't that what we need under the Trump Administration --- more ennobling patriotism?

Here's a short-story I cooked up which I think reflects some of the fantasy-oriented civilization conflict meditation presented by Malick, an approach to film-making/storytelling made popular perhaps by the pedestrian-introspection films of Woody Allen (e.g., Crimes and Misdemeanors) and paralleled (arguably) by the recent flurry of patriotism-fantasy comic book adapted films such as The Dark Knight and Iron Man.



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"The Stand"

A strange ā€˜moral standā€™ occurred on an idyllic hill-valley property in Vermont (USA). A radical college student named Stan was delivering ā€˜conversational sermonsā€™ to his peers about the rewards of competing for the affections of women in a capitalist society. He cited Helen of Troy and the sway of the female music superstar Madonna as ā€˜wolf totemsā€™ that men should aspire to master psychologically in the name of ambition. Stanā€™s best friend Ezekiel was at the event listening to his friend deliver his odd and somewhat fanatical address. Ezekiel decided to debate with Stan, and Michael (Godā€™s archangel) and Satan (Godā€™s adversary) were witnessing and taking notes for an official report to God.

EZEKIEL: Capitalism does not demand ruthless ambition.
STAN: Are you sure?
EZEKIEL: Well, no. Capitalism can become cutthroat.
STAN: Whatā€™s the difference between cutthroat competition and ruthless ambition?
EZEKIEL: Evaluating degree is very important, Stan (in this topic).
STAN: Maybe youā€™re right, but I donā€™t see the ā€˜honorā€™ of failure in a capitalist society.
EZEKIEL: Teamwork, Stan. Remember how Steve Jobs and Bill Gates worked together?
STAN: They also competed like hell.
EZEKIEL: Corporate stories are not for laymen.
STAN: You think Iā€™m a revolutionary?
EZEKIEL: I think youā€™re passionate but angry.
STAN: How do you suggest I direct my anger?
EZEKIEL: Aristotle wrote that anger is a mystery. I recommend you write a book!
STAN: Aha. Like Edward Abbey or Thoreau, huh?
EZEKIEL: Something like that!
STAN: Maybe I will, Stan. Maybe Iā€™ve learned something here today.

MICHAEL: Idealistic college students.
SATAN: The hallmark of America.
MICHAEL: That was a strange conversation.
SATAN: A small thread between Thoreau and the Unabomber.
MICHAEL: Maybe itā€™s not that dramatic.
SATAN: Then itā€™s boring!
MICHAEL: Debates are always educational.
SATAN: Weā€™ll seeā€¦

Ezekiel concluded that he was debating with a true ā€˜American psycho.ā€™ ā€œMaybe Stan is a vampire-wannabe (whatever that means!),ā€ Ezekiel wondered. A world led by Stan would be a real Fascist Derby. Ezekiel decided to write a book comparing Stan to Mordred, the ruthless rival of King Arthur and enemy of Camelot (from English folklore). ā€œIf every American thought like Stan, this nation would be a society of buttered pirates,ā€ Ezekiel wrote. This was the beginning of his novel. Ezekiel died before completing it. Michael noted it would have won him the Nobel Peace Prize.

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The War of People

I wanted to offer an addendum regarding the liberal use of celebrities as the cast of American soldiers in this Malick film. The star-studded list reads like something out of a NY Yankees or Real Madrid roster. It's almost ridiculous. What other film could you imagine where George Clooney, Nick Nolte, and Sean Penn would actually be compatible? If the movie was about a Hollywood movie studio, I'd understand, but let's face it, The Thin Red Line is a straight war story.

In other words, the star-studded cast certainly symbolizes Malick's intention (if not his only one) to suggest that noticeable people (i.e., celebrities) are 'totems' of a distinct American perspective on fame and fortune. After all, war shatters our idealism regarding 'great expectations.'

This sort of 'character consciousness' is embodied in the anti-social attitudes of prominent pro-bigotry fictional avatars such as Khan (a 'genetically-refined' fanatic from the species-exchange sci-fi Star Trek television/film franchise) and Fagin (a strange society-critical overseer of a utilitarian pickpocket-orphanage from Charles Dickens' culture-examination novel Oliver Twist). Khan and Fagin both symbolize 'characterization politics' and remind me of Nick Nolte's stalwart and stubborn pro-war character (Lt. Col. Gordon Tall) from The Thin Red Line.

Here's a short-story about a high school cafeteria-war inspired by the bigotry-academy film School Ties.



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Scott was the new kid at Valley High School (VHS) in southern California. VHS was comprised of students from all ethnic backgrounds, and it was a relatively well-funded and well-managed American high school. Scott had just moved with his mother from Oregon after she divorced his alcoholic father who simply disappeared. Scott was eager to make a good impression and to be accepted as a mulatto (he was part African-American, like his father). Scott believed himself to be a 'populism philosopher.'

Scott met a very pretty sophomore female student (a young mulatto woman named Shelbye) and decided to ask her out to see a movie at the popular drive-in theater (he would ask his mom to drive them there). Shelbye agreed, and Scott's mom took them on a Friday to the Valley Drive-In to see the confluence-creative film American Beauty. Scott and Shelbye really liked the movie, but Scott's mother thought it was somewhat strange.

Scott decided to write an essay in English class about the themes and symbolism in American Beauty and how it represented a cultural perspective on the human impact of the incredible confluence found in America (of people). Shelbye really liked his essay but critiqued it and suggested that Scott was being too romantic about 'coincidental confluence' and that perhaps American Beauty was just as much about angst as it was about perfection! Shelbye was right.

Scott took Shelbye's criticisms (which were delivered in class so everyone heard them) very much to heart and started to resent how his girlfriend critiqued his essay on confluence (which meant a great deal to him). Scott decided so start a massive cross-table food-fight during lunch-break in the Valley High cafeteria. Shelbye was horrified and decided to break-up with Scott, and when the disciplinarians asked Scott why he did what he did, he simply replied, "The cafeteria is an American cauldron for an anti-Trump Administration 'pro-population war of the people'!"

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School Ties


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