THE THIN RED LINE

US, 1998, 170 minutes, Colour.
Nick Nolte, Sean Penn, Jim Caviezel, Elias Koteas, Ben Chaplin, Dash Mihok, John Cusack, Adrien Brody, John C.Reilly,John Savage, Woody Harrelson, Miranda Otto, Jared Leto, John Travolta, George Clooney, Nick Stahl, Thomas Jane, Simon Lyndon, Dan Wylie, Mark Boone Jr.
Directed by Terrence Malick.


Why in 1998 should two Hollywood blockbusters and Oscar nominees dramatise for us key battles of more than fifty years ago: D-Day? and its aftermath, shown with extraordinary realism in 'Saving Private Ryan' and the battle of Guadalcanal halting the advance of the Japanese in the Pacific towards Australia in 'The Thin Red Line'?

While 'The Thin Red Line' has enough battle realism and combat intensity (the laborious taking of a peak in the Solomons) to put it amongst the classics of war, Terrence Malick's adaptation of James Jones' novel, is interested in the meaning of the battle for those engaged in it. Jones also wrote 'From Here to Eternity' and his own story was told in the Merchant Ivory film, 'A Soldier's Daughter Never Cries'. And Malick is famous for having made 'Badlands' and 'Days of Glory' in the 70s and now this film after 20 years.

Whereas Spielberg opens with the peace of the present in a war cemetery and then takes us back, Malick shows us the idyllic Pacific where no war should be. But it comes, testing islander and American alike. With its inner voices technique, the film invites us sometimes to contemplate, sometimes to reflect, always to listen to what these men are saying. Sometimes, as with Nick Nolte's character, the voice contradicts the action. There are voices of idealism (and idealising the absent, far-off woman), cynical voices, voices that speak of life and death and the experience of death.

While there are some star cameos, it is the less known actors, especially Elias Koteas as the platoon leader, who are the core of the film. The battle, lasting for almost two and a half hours of the film was enough war which meant that the final confrontations tended to be anti-climax. However, visually the film is a great achievement. It shows us the realities of war with great power. But it also makes a sincere attempt to invite its audience to share with its protagonists the terror, the mystery of life and of dying.


1. The tradition of World War II films? War in the Pacific? the films during the war, immediately after, 40 years later?

2. James Jones and his novels, the narratives, the small group, the paradise setting in the Pacific, the intrusion of war? The convoys, attacking the island, the mountain, the entrenched Japanese? The film showing an awareness of a range of attitudes and behaviour towards and in war?

3. The opening, the setting, lyrical, the beauty of nature, the sea and the hills, the jungle? The two men AWOL, enjoying that life, with the local people, participation, games? Witt and his reflection on the war and his own life? His memories of home?

4. The musical score, the variety of moods and responses?

5. The title, blood, defence, between enemies?

6. The work of the director, his first film in 20 years, subsequent career? The strength of his cast?

7. The structure: the introduction, idyllic, Melanesia, the village and children, nature, crocodile, birds, vegetation? Witt and his friend, AWOL, the intrusion of the soldiers, the convoy, the interludes? The flashbacks and voice-overs? Lyrical beauty, the Solomon Islands, the women and children, the men, play? Career? Wit and his voice-over, the flashbacks to his mother, death? Themes of death and mortality?

8. The difference voice-overs, Witt and his earnestness and naivete, Tall and his ambitions, doubts, hopes? The interactions? Bell, love for his wife, the flashbacks, support and loss, divorce? Captain and his reflections?

9. The flashbacks, Bell, with his wife, love, lyrical, the different angles, no words, the swing in love, infidelity, the letter, divorce yet the experiencing of sharing?

10. Guadalcanal, the map, the plan, the Japanese airfield, getting control of it? The turning of the war? Hard fought, hard won, the achievement?

11. The character of Witt? The discussions with Welsh? Welsh and his criticisms? Witt and his seeming to be fearless? His sense of self? Threat of prison? His action in the war?

12. The ship, the officers, the discussions, Tall and his voice-over, the contrast with his action? The Colonel, active service, the discussion of the maturity of the men? The theme of someone always watching? The prospect of the future, the world, the sons and grandsons, the morale boosting? Themes of sacrifice? The closer to Caesar, the greater the year?

13. The scared, father, chicken hoops? Hopes and fears? The religious attitudes of some of the men, prayer?The calm, anger, guns?

14. The Captain and his role, a lawyer in a previous life, his being with his men?

15. The character of Bell, as a soldier, engineer, his wife, his resigning, drafted again, without commission? The impact of the flashbacks, his wife, his wife and the other side of war?

16. Going into action, the discussions between the Captain and Tall? The barges, the water, the landing, the soldier and officer at breaking point? His sense of responsibility, his later involvement and muttering to himself? The landing, running, the plane, the natives and the machetes, the progress, the swamps? And yet the beauty, the parrots?

17. The audience’s sense of being there on the island? Participating in the landing, the men, the trucks going up and down, the wounded, the medics, Witt and his help? The soldier without legs?

18. Tall, Welsh, the Captain, the plans? Looking towards the Japanese, the Japanese and the slits for the guns? The Captain praying, not to betray his men, lighting the candle?

19. Tall, the bombing, the morale of the troops, the pursuit of the Japanese? The soldier to lead the group, running, sickness and fear, the shooting, the wound to his buttocks? The running up the hill, vivid, the visuals, crying? The Captain and his arguments, the decisions? Tall and outcomes, wanting to boost the troops, the Captain and his stances?

20. The close-ups of the men on the hill, shot, dying, Welsh and his brave rescue, not wanting the medal? The need for water? The men supporting the Captain?

21. Tall and the Captain, the patrol, the reconnaissance, the Captain refusing Tall’s orders? The to-ing and fro-ing? Tall and wanting things to his way? The young men dying?

22. Bell, the small group, going up the hill, their success? And the interludes in the flashbacks?

23. Tall, the issue of lack of water, not wanting to lose? Witt and Welsh and discussing the effect of one man dying, for nothing?

24. John, leading the group up the hill, the rock cover, phoning the information, the fierce fighting, the weapons, continuing up, the deaths, the Japanese trapped?

25. Overrunning the camp, grenades, the Japanese running, Japanese nest and grenades, the anger of the men, the brutality towards the Japanese?

26. Tall, John, the talk of medals? John on the Japanese prisoners, staring out Tall, the demand for the water? Tall not waiting for the water, just letting the men passout? His declaration that there was new spirit in the men? The fact that he waited all his life and his triumph, his past and being passed over, John staring at him, Tall calling him him his son?

27. Fife, the voice-over, pensive, the dead Japanese? The clash, the bayoneting on both sides, fleeing? Pursuit? The Japanese charge, in desperation, shooting no matter what? The Japanese trying to surrender? The close-ups? John and his kind approach? Staying with the dying Japanese? The carrion birds?

28. The confrontation between Tall and the Captain, the Captain relieved of his command, Tall saying the Captain was too soft? The reassignment? Star and Purple Heart? The Captain and his joy in leaving, the soldiers praising him, their being like his sons?

29. The aftermath of the taking of the mountain, going down, the men swimming? The comment that war does not ennoble, turns men into dogs, poisoning of the soul?

30. Bell’s contemplation, memories of his wife, her watching the sea, on the swing, talking about her love, wanting a divorce, finding someone new, talking about the time she had spent with him and his understanding this?

31. Comments on war, the wrong spot, the wrong time, getting to feel nothing, caring about nothing – Witt and his not caring and Welsh saying that the sound like bliss?

32. The men relaxed, the returning, the hostile boy and his changed towards Witt? Witt and Bell watching?

33. Pursuing the Japanese, Witt and his volunteering, the waiting, the attack, the water, Japanese in the jungle, Fife, the line being cut, Witt intervening? The
owls and the flying foxes? Witt deciding to stay, the Japanese advance, his being surrounded, his death, Welsh and his kneeling beside his dead body?

34. The officer, George Clooney, talking about the troops as family? The soldier finding something that he owns, making an island for himself? The cemetery scene?

35. The effect of the mission – and the further aspect of war?