Stanley
Kubrick's "Full Metal Jacket" starts off like
many other war films. We hear the raging drill
sergeant beginning the indoctrination of his new
recruits. It is this drill sergeant, played by
R.Lee Ermey, that defines "Full Metal Jacket" in
many ways. For him, this boot camp experience
appears to be a divine experience mixing war and
sex, peace and psychosis.
"Full Metal Jacket" is episodic in presentation,
and this would be confusing if not for the
completeness of each of the three episodes
presented. It is, however, this same episodic
nature that keeps "Full Metal Jacket" from being
the typical Kubrick masterpiece. By taking the
episodic approach, there is a disconnection
between the characters, the audience, the
stories and, ultimately, the film begins to
wander. The film features Kubrick's magnificent
sense of vision, however, it is an unclear
vision that never sees a payoff and never really
seems to be going anywhere.
Perhaps Kubrick has spoiled me, but when I watch
a Kubrick film I expect the unexpected. I expect
to have to think, and I know that I will feel.
In "Full Metal Jacket," my senses were
incredibly satisfied, but my mind wandered.
Kubrick maintains an "A" range film primarily
based upon his vision in the film, and upon the
simply outstanding performance of Ermey along
with Matthew Modine as a war reporter longing
for action, Adam Baldwin as the almost equally
psychotic Animal Mother, Vince D'Onofrio as the
chubby recruit Gomer Pyle, and the likes of
Dorian Harewood, Kevyn Howard and Arliss Howard.
The film's screenplay received an Oscar
nomination, and it was a gross injustice that
Ermey was not nominated for his tremendous
performance. You know you're dealing with a
magnificent director when you can say that an A-
rating is a tad bit of a disappointment.
However, in Kubrick's case I can honestly say
that with a bit more cohesion and focus he'd
have created yet another masterpiece. Instead,
we had to settle for just a damn fine film!
©
Written by Richard Propes
TC Candler's Comment
The first
half of the film is some of the most riveting
stuff ever committed to celluloid. The
second half of the film waivers in intensity,
but still manages to deliver another Kubrick
masterpiece.
Jacob
Hall's Comment
n/a
