THE THIN RED LINE
Review by Michael Jacobson
(DTS Audio comments by Alex Haberstroh)
Sean Penn, Nick Nolte, Woody Harrelson, John Cusack, Jim Caviezel, George
Director: Terrence Malick
Audio: Dolby Digital 5.1, Dolby Surround, DTS 5.1
Video: Widescreen 2.35:1
Studio: 20th Century Fox
Length: 170 Minutes
Release Date: January 23, 2001
The Thin Red Line may
easily be the most poetic war film ever made, and easily the best written.
Itís such a purely cinematic experience that itís difficult to
describe in words just how oddly beautiful and hypnotic a picture it is.
It plays out almost like a novel. We
are introduced to the men who do the fighting, but we get to know them mostly
through their inner dialogues, which cut through in between the often harshly
spoken words of war.
The story takes place in the Pacific, as a platoon of
American soldiers are attempting to take back a strategic island from the
Japanese. As the picture opens, one
is pondering about natureÖwhy does it contend with itself?
And this presents a motif that runs throughout the film.
The island is a beautiful tropic setting, with green trees and tall, wavy
grass that the soldiers sometimes seem to disappear into.
Time and time again, as the battles rage, we are shown the elements of
natureÖalligators, birds, snakes, the wild dogs that drag away the dead.
They arenít paying much heed to the human tragedies unfolding amongst
them. The message is very
clearÖit is not nature that contends, but rather manís refusal to fit in
with the natural world that causes such havoc.
But director/screenwriter Terrence Malick instinctively
knows that the true power of a war film does not entirely lie within harsh,
brutal, chaotic battle scenes. His
quieter moments, which are allowed to unfold and function at their own pace, are
where the men are forced to philosophize and question everything around them and
inside of them. Those maddening
moments where whole eternities seem to pass between the minutes, where all you
can do is reflect on what youíve done, and what you likely will do, and if it
comes down to dying, what exactly does it all mean? If thereís one thing psychology has taught us, itís that
a personís true character emerges during a critical situation.
So we may not learn much of these men in terms of their histories or
relationships, but what things we do learn are brutally honest and forthright.
In fact, we may know more about what kind of people these men really are than the person who lives next door to them for five
years in civilian life.
I donít mean to make the film sound existentialÖit is
in a way, but not directly so. This
isnít Socrates or Sartre at work here, but a real human drama unfolding in the
hearts and minds of men who are forced to do the unthinkable.
There are so many powerful and contemplative moments in the
picture that it would be difficult to list them all. One that sticks out in my mind above all others is the
soldier who volunteers to go alone and scope out a bunker where the enemy has
been picking off the platoon like flies. It
is an anxious moment, and we can see the fear in his eyes as he edges towards
his objective. He knows heís
likely going to die, and in a few well constructed scenes, we witness that he is
thinking about the wife he left behind, and their happiest moments together.
Obviously, if heís going to die, thatís what he wants to go out with.
Then there are moments of death and destruction that ring
out with honestyÖnot melodrama. Young
men drawing their last breath reach for a hand to hold, knowing that the only
thing worse than dying is dying alone. In
a later scene, as the Americans celebrate their victory in a particular battle,
we watch the Japanese soldiers playing out the same scenarios.
We may not understand the language, but it becomes painfully clear that
enemy or no, they donít want to die any more than the Americans.
It is amazing how Malick takes these characters, whom we only see briefly
and canít understand, but he still manages to speak volumes through them.
And I would be remiss if I didnít mention that this
picture is also one of the most well-acted and photographed war movies Iíve
ever seen. The star studded cast is
terrific, with top notch work from Penn and Nolte in particular, but with lesser
known actors like Caviezel and Koteas holding their own with them.
With the filmís tight structure of intermittent dialogue and inner
monologues, thereís simply no way it could have communicated to the audience
what it needed to without dedication and perfection from the entire cast, and
thatís what the picture boasts.
And as for Terrence Malickís visualsÖsimply
breathtaking. Malick is a director
who doesnít waste one millimeter of screen space, nor does he employ a single
gratuitous move of the camera. In
fact, his camera work is so tight, thereís likely not a moment in the film
where you think to yourself, ďwhoa, great camera moveĒ (though youíre
likely to think about it later). Every
motion has a purpose, and weaves so tightly into the structure of the film that
it becomes almost futile to try and separate the components that comprise a
scene. His use of sound and music
is seamless, too, and sometimes you donít even consider the way he brings up
the score and lowers the dialogue, or vice versa, to accentuate certain aspects
of his shots. And his
cinematography, which heís probably most famous for as a filmmaker, is
gorgeous. He simply knows how to
bring the most life and color out of any natural setting he shoots in.
I think itís entirely fair to call The Thin Red Line one of the best war movies ever made, especially
considering how uniquely poetic it is, both in word and vision.
Itís different from, but every bit the equal to Saving
Private Ryan in terms of acting strength, direction, and lingering emotional
This is one of Foxís best offerings so far. The anamorphic transfer is beautiful, and services well the unique vision and cinematography of Malick. There is no grain or compression evident anywhere, and all images, even in deep focus or low lighting, are razor sharp, with extremely well defined colors. One scene shows a green parakeet against a large green leafÖeach a slightly different shade, but both clearly defined and set apart from each other.
Dolby Digital ****
The Dolby Digital 5.1 soundtrack is every bit the match of the visual
transfer, and is one of the best Iíve heard.
As you might expect, the war scenes make the most of multi-channel sound,
with excellent dynamic range and plenty of bottom end for the subwoofer, but
even more than that, the soundtrack is almost three dimensional.
Sometimes sounds actually appear to be emanating from different layers of
The Thin Red Lineís audio is everything youíve come to expect from a conventional war movie -- brilliant use of surround sound that puts the listener in the middle of battle, crisp dialogue, and a powerfully moving score. Every sound, no matter how simple, is picked up with unbelievable clarity.
The sound in this movie is wide-ranging and dynamic, and helps drive the story forward. Through the incredible contrast of beautiful dream sequences to bloody jungle melees and surging oceans, the sound never lets up.
The Dolby Digital 5.1 track was a breathtaking example of reference quality audio, only slightly surpassed by the addition of the movieís new DTS track, (one of the better oneís Iíve heard since U-571) which once again performed better at a lower range on the .1 LFE track, making gunfire and explosions slightly punchier. I also enjoyed the DTS trackís ability to make sounds subtler, so it wasnít as obvious where the sound was always coming from, which was especially important in the constant dream sequences that occurred.
While I donít think Iíd repurchase the movie simply for
the DTS track, I appreciate that Fox is reissuing its titles in both Dolby
Digital and DTS. This for one is a
great audio transfer from Fox that deserves a commendation. Keep up the good work!
The Thin Red Line is cinema at itís most beautiful, powerful, and poetic. It may not alter the course of the war film genre, but it proves that a tried and true format can be presented in new, unique, and more thoughtful ways. This is Terrence Malickís masterpiece, and should not be missed.