Human relationships Between Soldiers in The Thin Red Line - Movie Review Example

Maksat Kalymgazinov WR 100 J2 Paper 3 Ms. Byttebier 04/24/13 Final Draft Human relationships Between Soldiers: The Thin Red Line Any war film invariably depicts several levels of relationships. The Thin Red Line is no exception to this as relationships within this movie are related to the viewer on multiple levels. Robert Pippin states the following about this masterpiece “This sense of being lost, once these conventions are invoked and then refused, is the main effect on any viewer, and seems a major point of the film itself” (Pippin, 1). Even when someone is lost in the scenario of the movie, one can clearly detect good characters with big hearts from the oftentimes one dimensional bad guys. This war movie consists of both cruelties and kindness. The first level of kindness that this takes place is with regards to the brotherly relations that are evident between the men of the company and platoon. On a second level, the relationships within the movie are related to the viewer with regards to the means by which father-son elements unfold also represent bright side of humanity. On the other side of spectrum we face tensions between people that result into conflicts in the movie. When seeking to understand these relationships within the context of the film, the following analysis will attempt to draw a level of focus upon the brother-brother, father-son, and exemplification of tensions between the men as they are exhibited by the actions that take place. As such, this particular analysis will seek to understand whether or not a familial level of relationships exist within the film, the type and definition of these familial relationships and some of the causal factors that help to encourage and develop these features. Firstly, with regards to the brother-brother relationships that are exhibited within the film, the viewer can see direct evidence of this to the type of behavior that is exhibited during their leave. Even though it may be assumed that the brotherly relations would most be exemplified during the combat scenes of the film, this is not necessarily the case. Rather, the dynamics of brotherly relations between the battle-weary men is most exhibited with regards to how the men spend their free time once they are on leave or before and after the combat. After weeks of stress and integrating with the deaths of their comrades within gruesome battles, the men settle into an uneasy, still stressful, rest that is only punctuated and made uniform by the level to which these men appreciate their own camaraderie and seek to make a communal sense of their current lives. The Narrator says the following about Witt’s realization of friendship: “he feels the mysterious quality of deep, manly friendship which can exist between men who share the pain and death, the fear and sadness of combat—the happiness, too” (02:40). This of course helps to underscore the understanding of how the men involved within the film are defined by the conflict they are in. If such hardships did not exist within Guadalcanal, it is unlikely that the brotherly relationship exhibited during leave would have ever developed at all. Hardships bring people together, since they are fighting together for one cause against one evil enemy. Likewise, the father-son relationship that exists within the film is most adequately exposed by how Captain Staros interacts with the company commander. Captain Staros, a father figure for the men under his command, takes his role as guardian and protector of his men’s lives very seriously. Therefore, he takes full responsibility for all of the members of his platoon. Although his responsibility as an officer also includes implementing the orders of the officers above him, this primary motive to provide for the safety and wellbeing of the men under his command serves as something of a guiding precept by which Staros defines his role as captain. Staros right before the leave home has a warm and memorable talk with some members of his platoon. He says, “You’ve been like my sons. You are my sons. My dear sons. You live inside me now. I will carry you wherever I go” (02:00). This innate desire to protect and watch over his men in the same way that a parent/father would protect and watch after his own children is clearly and definitively stated as Star likens his own men to “sons”. Within such a context of understanding, the viewer gains the impression that Staros and others within the film begin to develop something of an alternative family. Separated from their own homes by thousands of miles and the reality of a global war, the soldiers seek to revert back to a level of basic human need and comfort one another by forming new lines of identification and family among their war comrades. The tension between men comes as Staros and the company commander reach a deadlock over whether or not a full frontal assault of the Japanese position will take place or not. The company commander insists that Staros use his men in order to dislodge the Japanese from their current positions. However, Staros, acting as a fatherly and caring figure for his men, refuses the order from top and insists that an alternate way is found to affect the given change. While Colonel Tall cares about the final destination, Staros cares about how to get there with a minimal casualties and damage. Staros in a long and critical conversation with Colonel Tall when he refuses the order justifies it by the following reason: “Colonel, I refuse to take my men up there in a frontal attack. It’s suicide! I’ve lived with these men two-and-a-half years. I won’t order them all to their deaths. That’s final. Over”(01:45). This illustrates a combination father-son relationship that Staros displays and the dynamic of tension that arises between Tall and Staros. Captain Staros, a true leader, puts lives of his ‘sons’ in priority and jeopardizes his personal rankings and life. He takes a full responsibility and gets punished for a good cause. Regarding the dynamic of The Thin Red Line as well a number of other war movies, Pippin states the following: “No well known war movie in the twentieth century is about a professional army or about mercenaries. World War II or Korea or Vietnam movies are naturally about a citizen’s army of draftees or volunteers who yearn to return to their civilian lives, hate the army, but do their duty. Their memories of home (and sometimes what we see of their home life) and what they will do after the war are among the most frequent topics of conversation, are what sustain them, give what they do meaning (protecting their home). Loyalty to their new friends, the revelation of the unique power of relationships forged in wartime, as well as the emergence of great courage from unexpected characters are all familiar themes within the genre” (Pippin 1). This cauldron of intrigue helps to cement the relationships that are formed in an even more extreme way than might otherwise be realized. In such a manner, those relationships that start out on the wrong path usually stay that way and become worse throughout the course of the film. As Pippin notes, the meaning that the soldiers long for is found in protecting their home; both the one that they plan on going back to within the United States and the fanciful one that they have created within the company of the men with which they serve. Moreover, as Pippin’s above quote illustrates, the search for meaning within the conflict that such men are engaging is a very clear and present concern by which all of them must integrate. From the very outset of the conflict, the level and extent to which a sense of meaning to the senseless killing and massacre that is taking place all around them is sought to be defined. For some, such as Will, this is realized by seeking a quieter more comfortable life away from all the conflict and death. For others, such as the majority of the other lead roles within the film, this sense of realism and normality can only exist through the creation and meaning that a sense of family, no matter how real, can ultimately provide. Conversely, aspects of brotherly and fatherly love that are exhibited within the film become stronger and more defined. Although an interesting dynamic, this is not unique from a human psychological understanding. Individuals who are placed in situations of extreme danger and risk to life generally seek to find those things that they can rely on. Oftentimes, these are merely memories of home. Other times, the individuals seek to create some vestige of home within the horrific world of death and destruction that they live within. The particular basis of analysis and understanding within which The Thin Red Line was produced naturally puts forward the understanding and ideal of the latter. Whereas men can only perform to a given degree, once pushed to their limits and taxed beyond measure, they naturally seek to revert back to a semblance of home and normality by defining familial relationships between the cadre of friends and fellow soldiers they interact with on a daily basis. It can and should of course be realized that Malick utilizes the extent and level of familial relations which have been analyzed herein as a means of integrating the film to the viewing audience. Regardless of how realistic the special effects might have been, regardless of teven the quality of the acting, the fact of the matter is that very few of the individuals hwo actually screened the film have ever been in war or experienced the hardships and deprivations that were exhibited on the screen. Knowing and realizing this, Malick set out to identify one aspect of the war experience that the viewing audience could necessarily relate with; i.e. the way in which these men, tried by combat and stressed by the reality of death awaiting them at every turn, would seek out and find comfort in the “normality” of familial relationships. Says one reviewer, “As The Thin Red Line contemplates mankinds self-destructiveness, the oneness of a company of soldiers, the rape of nature and the emptiness of Pyrrhic victory on the battlefield, it leaves behind any ordinary opportunities for individuals to emerge from the fray” ( Maslin 1). Although the level and extent to which these exist within the film are varied, it cannot and should not be understated the overall means by which such a mechanisms is able to integrate with the audience and express a reality of the war zone and combat situation that would otherwise be lost upon them. Within the same theme of how home is defined, Maslin notes, “Hence the married man (Ben Chaplin) who faces battle thinking of his bride and reciting in typically dreamy voice-over: Why should I be afraid to die? I belong to you. If I go first Ill wait for you on the other side of the dark waters. Be with me now. Mr. Malick can accompany even the most sentimental reveries with lofty phrasings and lovely imagery, like this mans visions of his sweetheart in summer dresses. She has purity, sensuality and lightness that would be rare in any film” (Maslin 2). Regardless of whether or not these relations can be viewed as right or wrong within the given context, they are nonetheless evident and apparent and serve to develop the plot and help to explain the means by which the individuals within the film integrate with one another and define the situations that they live within. The hardships of war are evident throughout the film and it is the opinion of this author that these hardships are some of the most powerful motivators for seeking to strengthen the relationships between men and heighten the tensions between others. Only under pressure one is acting truly without fakeness and hypocrisy. Ultimately, regardless of the situation that individuals find themselves within, it can be noted from a psychological standpoint that the more difficult it becomes, the greater level of integration will likely develop between certain members of the group and the greater level of tension will develop among members within and without of the group. In such a way, the viewer of the film can view war as a crucible in which the emotions and relationships of these men are placed into an acutely defined state. In peaceful time human beings might and do create those relationships, but when at war all of the feelings and relationships escalate. Works Cited Janet, Maslin. "The Thin Red Line Movie Review." The New York Times. The New York Times, 15 Apr. 1998. Web. 27 Apr. 2013. . Pippin, Robert. "Vernacular Metaphysics: On Terrence Malicks The Thin Red Line." Rev. of The Thin Red Line. University of Chicago Press (n.d.): 3+. Print. The Thin Red Line. Dir. Terrence Malick. Perf. Sean Penn, George Clooney, John Cusack, John Travolta. 1998. 1999. Film. Read More