Kubrick's ontology of authority and totalitarianism may have merits diagnostically and heuristically but tends to reproduce (and only pay lip service to any moral mission) the evils it condemns. Admittedly well shot, mainly in the first and quite gripping part in the camp, but almost parodic in the excess of caricature of militarism, it ultimately construes the world as a nihilist frenzy of destruction. Bombastic.
One of Kubrick's two best works, FMJ is filled with strong acting, strong characters, and some of the best shots ever attributed to the formalist king of New Hollywood. With a potent and perennially relevant message about "the duality of man" mirrored through a brilliant two act structure where neither is more or less important than the other to the over all message, there is more than jelly donuts to chew on here.
Drôle de manière de monter le film puisqu'il se divise en deux parties : la vie des jeunes soldats dans la caserne se préparant à rejoindre le Vietnam et le conflit lui même Baleine pourrait représenter la pression psychologique que peut provoquer l'armée, avec les possibles abus ou semblants d'autorités. Elément qu'on retrouve d'ailleurs dans la seconde partie + rôle du photographe de guerre
Probably the most bare bones exercise in the Kubrick technique exposing the cold, clinical autism of the approach. One admires the exacting technical skill of the piece, but we’ve been here before and the surface texture of mass trauma-based control and digs at the industrial military complex add little new in insight or complexity to what is essentially a well ordered parade of cliches.
★★ / 35mm / A mesmerizing beginning, an engrossing portrayal of how to train killers, Ermey, the foul mouthed drill sergeant, Onoforio, that evil shit face grin, a great Modine, the moral center worn down, succumbs to a tired, poorly realized second part, full of wartime clichés, exaggerated male bonding, blood thirsty soldiers, overwrought emotional moments, bizarrely set amongst a faux representation of Vietnam.
Along with "Apocalypse Now," this is one of the finest war films I've ever seen. Like most Kubrick films, it features unforgettable imagery, powerful writing, intense performances, and raises a lot of thought-provoking questions about its subject matter without forcing answers on you. And, if you just like action, this has some of the most immersive (and artful) battle scenes you're likely to find.
Pada menit-menit awal saya digiring dengan percakapan-percakapan yang kadang tegas tapi terkesan lucu. Hingga kemudian saya mulai merasakan dilema, ketika ada seorang prajurit yang tak pernah bisa mandiri, harus selalu dibantu dan dimotivasi. Namun nyatanya si prajurit merasa tertekan sampa menembak komandannya dan bunuh diri. Film yang dilematis dari seorang prajurit marinir.
The entire first half of the movie where the recruits are drilled for Vietnam action by the hard R.Lee Ermey is fantastic and the best part of the film as Vincent D'Onofrio is transformed from a dim-witted and nice big boy to a brainwashed killer. The second film disappoint by going the traditional war movie route but also show how war criminality is easy when one is scared and trapped in the middle. Powerful.
I wish it were more about the Vietnamese victims of the war than its American casualties, tho I appreciate that the killing of the sniper (Ngoc Le) at the end of the film signals the impossible cultural divide that exists for an American filmmaker trying to communicate the Vietnamese experience of the war. All the same, probably the war film I respect the most as it neither glorifies nor lectures. A chilling machine.