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The Thin Red Line

  • 1998
  • UA
  • 2 घं 50 मि
IMDb रेटिंग
7.6/10
2.1 लाख
आपकी रेटिंग
लोकप्रियता
1,609
89
The Thin Red Line (1998)
Criterion trailer
trailer प्ले करें2:47
3 वीडियो
99+ फ़ोटो
ऐतिहासिक महाकाव्यवॉर एपिकइतिहासड्रामायुद्ध

द्वितीय विश्व युद्ध के दौरान ग्वाडलकैनाल में संघर्ष पर ध्यान केंद्रित करते हुए, जेम्स जोन्स के आत्मकथात्मक 1962 के उपन्यास का रूपांतरण.द्वितीय विश्व युद्ध के दौरान ग्वाडलकैनाल में संघर्ष पर ध्यान केंद्रित करते हुए, जेम्स जोन्स के आत्मकथात्मक 1962 के उपन्यास का रूपांतरण.द्वितीय विश्व युद्ध के दौरान ग्वाडलकैनाल में संघर्ष पर ध्यान केंद्रित करते हुए, जेम्स जोन्स के आत्मकथात्मक 1962 के उपन्यास का रूपांतरण.

  • निर्देशक
    • Terrence Malick
  • लेखक
    • James Jones
    • Terrence Malick
  • स्टार
    • Jim Caviezel
    • Sean Penn
    • Nick Nolte
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.6/10
    2.1 लाख
    आपकी रेटिंग
    लोकप्रियता
    1,609
    89
    • निर्देशक
      • Terrence Malick
    • लेखक
      • James Jones
      • Terrence Malick
    • स्टार
      • Jim Caviezel
      • Sean Penn
      • Nick Nolte
    • 1.6Kयूज़र समीक्षाएं
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    • 78मेटास्कोर
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    • 7 ऑस्कर के लिए नामांकित
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    वीडियो3

    The Thin Red Line
    Trailer 2:47
    The Thin Red Line
    Memorable Military Moments in Film
    Clip 1:27
    Memorable Military Moments in Film
    Memorable Military Moments in Film
    Clip 1:27
    Memorable Military Moments in Film
    A Guide to the Films of Terrence Malick
    Clip 2:31
    A Guide to the Films of Terrence Malick

    फ़ोटो192

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    टॉप कलाकार91

    बदलाव करें
    Jim Caviezel
    Jim Caviezel
    • Pvt. Witt
    Sean Penn
    Sean Penn
    • 1st Sgt. Welsh
    Nick Nolte
    Nick Nolte
    • Lt. Col. Tall
    Kirk Acevedo
    Kirk Acevedo
    • Pvt. Tella
    Penelope Allen
    Penelope Allen
    • Witt's Mother
    • (as Penny Allen)
    Benjamin Green
    • Melanesian Villager
    • (as Benjamin)
    Simon Billig
    Simon Billig
    • Lt. Col. Billig
    Mark Boone Junior
    Mark Boone Junior
    • Pvt. Peale
    Adrien Brody
    Adrien Brody
    • Cpl. Fife
    Norman Patrick Brown
    • Pvt. Henry
    Ben Chaplin
    Ben Chaplin
    • Pvt. Bell
    George Clooney
    George Clooney
    • Capt. Bosche
    John Cusack
    John Cusack
    • Capt. John Gaff
    Jarrod Dean
    Jarrod Dean
    • Cpl. Thorne
    Matt Doran
    Matt Doran
    • Pvt. Coombs
    Travis Fine
    Travis Fine
    • Pvt. Weld
    Paul Gleeson
    Paul Gleeson
    • 1st Lt. Band
    Woody Harrelson
    Woody Harrelson
    • Sgt. Keck
    • निर्देशक
      • Terrence Malick
    • लेखक
      • James Jones
      • Terrence Malick
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

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    फ़ीचर्ड समीक्षाएं

    tedg

    Wittgenstein's Red Line of Abstraction

    I met Malick in 68-69 at MIT where I was taking a degree in philosophy. MIT had the decade before gone through a soul-searching re-evaluation of the type of scientist it was producing, and concluded that they could do much better in working toward well-rounded citizens. So by the end of the 60's they had collected - for a few years only - perhaps the strongest collection of newly emergent thinkers in the humanities. And it was quite a rich stew of ideas for a young person, the most exciting place in the world for the humanities for perhaps five years.

    Malick came in with this pack, concerned with newly emerging ideas about meaning and language. The philosophy establishment was forming a new split (US and Continentals) largely characterized by how to reinvent Wittgenstein's insights but with a more friendly rationale. Chomsky was shaking one world, formal abstraction for computers another. Exciting --- moreso than today. But Malick was not a verbal communicator, nor a logician, nor an academic (all sides of the same thing). So he dove into practical visual semiotics.

    He is not a brilliant man, merely a journalist. But he does seem to be particularly honest and understands some damned good, solid, human ideas compared to other filmmakers. One can really see this early MIT exposure in 'Red Line.'

    We can thankfully forget plot -- there is not meant to be any story. In fact, the war is only used here as a canvas of motion, abstractions of 'regular' life, colliding and sometimes adhering to souls, sometimes destroying them. The device is to build the film around the sounds: narrative voiceovers (current and remembered), natural sounds, haunting music. The images are attached to the sounds, which are derived from abstractions. This is exactly the reverse of Spielberg, which is why there cannot be any comparison to 'Private Ryan,' or any other film that is 'about' something. It is why Malick can never 'explain' his films.

    The execution is hypnotic. I wonder what the six-hour version is like. The editing (and particularly of the sound) is unusual, so transports us beyond the strangeness of tropics, war, history. That editing is much like Van Morrison's music: it establishes the rhythm only as a reference to dance around, peeking in and out. The relationship of the rhythm within the shots to the rhythm of the shots is very bluesy.

    Having no story opens new possibilities and creates unfamiliar problems. An opportunity is that the film can have many centers: the meditator in the midst of the attack on the camp; the squabble of the villagers; the transport of the ship; the need to look at our own dogtags. The challenge is how to end. When you stick to a formula like Spielberg, you just turn the crank and the climax lifts and comes down, and the story finishes. No story, no formula, so Malick brackets with the transport to and from the island, by the aging of the southern rookie, and by the exit from and re-entry to a world of unfamiliar characters. That they are played by familiar actors (Travolta, Clooney) oddly emphasizes the point.

    It must have been educational to work on this film, which is why every intelligent actor (or an actor with an intelligent agent) wanted to participate: one can see direct influence in Penn's 'The Pledge' and Cusack's 'High Fidelity,' both highly abstract.

    Penn knew exactly what he was doing here. He moves in the action, as an actor must. But he places his character offscreen in the abstract voiceovers. That's the 'real' Welsh, and the film's image only an abstraction. He truly understands presenting many dimensions simultaneously. Harrelson doesn't, but that's the point with Keck. I wonder why Depp didn't make the cut?
    10gabbagabbahey

    A diagnosis

    The greatest fault of The Thin Red Line was its timing - it was released at around the same time as Spielberg's Saving Private Ryan. While most people dismissed The Thin Red Line as the `other' World War II movie of 1998, it's actually a very different kind of film - the film itself is not hurt by similarity to Ryan but was hurt commercially due to the misconception. It's easy to forget that Red was nominated for seven Oscars. This is an extraordinary film that can stand well on its own next to Ryan.

    Saving Private Ryan was significant in that it visually depicted war in a realistic, gritty way. The Thin Red Line's focus is more philosophical. It is about the contradiction between the beauty of nature and the destructive nature of men. The movie cuts continuously between the external struggle of American GIs fighting to take a crucial hill from Japanese occupation on Guadalcanal - and more importantly, the internal chaos of war as every man tries to come to his own terms about matters such as morals, death, God, and love.

    Unlike in Saving Private Ryan, there is nothing patriotic about this movie. In fact, there probably has never been a more anti-war film. The fighting men here are disillusioned, lost, and frightened. They don't fight for their country or "democracy" - they fight because they have to. The only priorities are survival, and - for the more humane - caring for their comrades. Renowned composer Hans Zimmer - who won an Oscar nomination for his work-captures the grim mood perfectly and allows us to hear the men's thoughts.

    The characters are portrayed by a strong ensemble cast. Acting is uniformly excellent, especially Nick Nolte as Colonel Tall, who is the unfeeling commander of the ground offensive on Guadalcanal. Thoroughly unlikable, he is the closest thing to a villain in the movie. After studying war for an untold number of years, Tall sees Guadalcanal as his chance to prove himself and move up in the ranks - the men are only a tool to accomplish this goal and expendable. In one crucial scene, he orders a captain (played by Elias Koteas, in another outstanding role) to lead his men to a frontal assault against a Japanese controlled hill. When the captain suggests a more logical alternative, the colonel screams: "You are not gonna take your men around in the jungle to avoid a goddamn fight!" To this, the captain replies, `I've lived with these men, sir, for two and a half years and I will not order them all to their deaths.' Later, when the hill is taken, he is dismissed of his duties as Tall sees him as a threat to the successful achievement of his goal. Certainly, not every commander must have been that coldhearted and selfish, but surely some were, though not necessarily to that extreme.

    While the acting is very good, much of the cast is relatively unknown and it can initially be hard to distinguish the characters from each other as they may appear to be very similar. They are all about the same age, have dirt smeared over their faces, and wear helmets and the same military garb. Also, the stars in this movie have very small roles. George Clooney and John Travolta are credited with starring roles while really little more than extras - clearly for marketing purposes. You will not see more than two minutes of each.

    One of the main themes of the movie is the contrast between nature and men's destructiveness in war. The director, Terrence Malick, hired cinematographer John Toll to capture this on camera, and towards achieving that goal they couldn't have been more successful. The almost surreal scenery is nothing short of stunning and has the same visual impact as any special effect. The beauty of nature is always present, even when it is a setting for battle of destruction, and death.

    Though the battle scenes fall short of the frightening realism in Saving Private Ryan, they are heads and soldiers above every previous attempt. One truly gets the sense that war is a chaotic, often hopeless environment where it is only a matter of luck whether you survive or get killed.

    `How did we lose the good that was given us? Or let it slip away? Scatter it carelessly ... trade it for what has no worth?' The film is filled with such poetic questions as to which there are no real answers. This is definitely not a party movie. There isn't anything uplifting about it - it is downright depressing. Asides from entertainment value, however, this is a film that makes you think.
    Roger_is_King

    The most influential film of the 1990s

    The "Thin Red Line" is not an easy film to understand. It uses one of the most complex narrative structures yet produced by cinema to tell three stories (yes, it DOES have a plot): 1) the one the book wanted to tell (the book's title comes from a 19th century allusion to the British Empire's infantry whose small numbers managed to 'protect' the British ["civilization" from their point of view] from the countless hordes of "savages" which the Empire ruled (this concept is regrettably racist). James Jones used this analogy to tell the story of how young American soldiers with no battlefield experience become bloodied veterans. 2) the fundamental paradox of war: to protect "civilization" (all that we hold dear) we are prepared to send young men to fight in wars. We know that in war they will see and do things that will turn them into the very "savages" that we are trying to prevent from destroying our civilization. If you believe that there are things even worse in the world than war (genocide, rule by the Axis powers) then war is not irrational, but the paradox mentioned above exists. 3) man is not distinct from nature but a part of it. Therefore, nature is both beautiful and cruel. (Like our civilization and war). To tell these stories Terence Malick used symbolic imagery, flashback, voice-overs, passages without dialogue, long close-ups of the actors' faces, changes in tempo and a haunting score. For example, his use of symbolism has been much criticized but everything has a purpose e.g. the crocodile entering the green algae covered water (nature's savagery), the native man who passes the company, after they land on the beach, walking in the opposite direction apparently oblivious of their presence (their shocked and bewildered faces reveal how they are forced to question the relevance of the reasons for which they may shortly die - the defense of civilization), the tree being choked by parasitic vines ('nature is cruel' as Lt. Col. Tall so aptly puts it), the bird being born as a soldier dies (it was not dying as many people thought - "we come from the earth and return to it" as we hear in the voice-overs), dogs eating a human corpse ("dog eat dog" - the soldiers are becoming desensitized to the violence) the same crocodile, now dead, at the end of the film being carried away as a sort of trophy (danger has receded for the moment), the coconut sprouting a palm on the empty beach in the last scene (after death comes birth - the cycle of life). There are, of course, many, many other examples. The use of flashback accompanied by voice-over to convey feelings as opposed to narrate a story must have appeared strange to anyone who never saw Alain Resnais' "Hiroshima Mon Amour". It was used most effectively with Ben Chaplin's character (Pvt. Jack Bell) when he thinks of his wife back home - incidentally he idolizes her in the same way we do our own culture - another metaphor. His disillusionment is profound and shows that what he was prepared to die for was only as pure as any ideal. It is often say that there was no character development. This is also false. For example, in the scene where Sgt. Welsh is speaking to Witt shortly after his arrest for being AWOL , Welsh seems to claim that it is every man for himself when he says that individual sacrifice is worthless, there is no world but this one and that each man must get through the war the best that he can. However, we subsequently see him risking his life to deliver morphine to a MORTALLY wounded man during the frontal assault on the Japanese machine gun nests. Also, Witt can not understand where evil comes from in the midst of the beauty he sees in the Melanesian village, but when he returns there he sees man arguing, enemy skulls, crabs hideously crawling around on an outstretched human hand and a child's back covered with insect bites while those people around it are seemingly uncaring. These images suggest that evil is inherent in man. Malick avoids the usual stereotypes. Although we see heroic acts (such as the taking of the machine gun nests by Capt. John Gaff's [John Cusack] team of volunteers), there are no recognizable heros. It is true that the characters are not sharply defined. When the violence comes it is against all of them i.e. all of US. Are there then any relevant negative criticisms of the movie? I would say that it did not meander as some critics alleged (every scene has a purpose) but it was unnecessarily long. There is a certain irony in this. It is said that Malick edited over 100 hours of material first to 9 hours. Understandably the studio did not accept this. He then reduced it to 6 hours and then to 3. (This helps to explain the lightning appearances by John Travolta and George Clooney, I see no problem, however, with using big name stars in such short roles - Richard Attenborough did it in "A Bridge Too Far"). With so much cherished material available, I suspect that Malick fell into the trap of opting for the maximum length that the studio would allow when more artistically efficient editing would have reduced the film to 2* hours. The balance between the action and meditative passages would have worked better if certain scenes had been cut, such as Witt's passing a wounded soldier on the way back to his company after leaving the Melanesian village the second time and also the conversation that Witt and Welsh have towards the end of the film (Welsh appears a stranger to him, suggesting that he is simply a troublemaker). Even with the exclusion of these scenes Witt would still appear a humanist and Welsh a complex "every man". Most people would agree that the film is visually stunning. As there has been very little even remotely similar in the past, it will be confusing for many people but I am convinced that this will come to be seen as a hugely important work - the most influential of the 1990s.
    9pmov

    Malick's Heavenly War

    This film is unlikely to be appreciated by audiences reared upon a diet of dumbed-down Hollywood action fare. However, if you're prepared to sit down and watch THE THIN RED LINE with no interruptions and give it the attention it deserves, you'll be rewarded with one of the most intelligent, poetic and stunningly beautiful films you're ever likely to see.

    Director Terrence Malick's films are alive with a sense of pure cinema with every frame delivering such detail and richness that you could swear you were there. The only other person capable of bringing such an immediate sense of time and place and sheer nuance of film (although in a completely different way) is David Lean, another major league craftsman.

    Here, again, Malick uses his customary voice-over device although this time as a means of vocalising the abstract thoughts of the various soldiers as they struggle to make some sense of the conflict. It's an interesting approach which allows the audience to identify with the characters in a far less superficial way than in, say, SAVING PRIVATE RYAN (the film THE THIN RED LINE is most often and most unfairly compared to). Malick is also not afraid to take time to illustrate the continuing natural backdrop to the carnage. Mother Nature almost seems to be occupying a pivotal supporting role as a detached observer on the sidelines, calmly and inscrutably watching the chaos develop.

    It's a measure of Malick's complete disinterest with the normal conventions of Hollywood that actors such as Lucas Haas, Vigo Mortensen, Jason Patric, Mickey Rourke, Martin Sheen and Billy Bob Thornton all spent months in Queensland Australia and the Solomon Islands filming roles that ultimately ended up on the cutting room floor. Blink and you'll also miss major marquee players such as John Travolta and George Clooney. The stand-out performances come from Jim Caviezel and, especially, Nick Nolte.

    Nolte just seems to be getting better and better as he gets older and his portrayal of tyrant Colonel Tall is something to see. I have never seen anyone express such an impotent sense of rage, anger and fury than Nolte does here. It's a fantastic performance from a real pro and it's a mystery to me why he didn't get an Oscar.

    John Toll's pristine cinematography and Hans Zimmer's wonderfully evocative (Oscar-winning) score are other strong elements. The unusual music and visuals contrast so well that Malick sometimes fades out the noise of the shouting, explosions and guns, an effect that only serves to heighten the emotional power of the experience further.

    You won't see a more beautiful film about the horrors of war. Movies like this make the task of trawling through the weekly diet of dumb formulaic junk served up by Hollywood almost seem worthwhile.
    Rectangular_businessman

    Mixed feelings

    I used to hate this movie a lot (And I mean, a lot) but nowadays I have started to see its good qualities.

    Terrence Malick's films are not everyone's cup of tea, and this is not only not the exception, but probably the most extreme example of that at display: There are many qualities from this movie that are frankly admirable (Particularly its brilliant cinematography and performances) but it is also the kind of movie that is quite tedious to watch at moments.

    And it's already a pretty long film, it feels even longer than it actually is.

    If you are about to watch this, don't expect something like "Saving Private Ryan". Expect something more akin to Apocalypse Now Redux: A brilliant, but also tedious movie that is both beautiful and both tiring at moments.

    इस तरह के और

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    Days of Heaven
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    9.3
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    Death's Sonata
    8.4
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    Little Luis
    9.8
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    Bridegroom
    8.0
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    6.7
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    Moffie
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    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Most of Adrien Brody's scenes were cut from the film and he wasn't aware of these changes until he saw the film at the premiere. Brody came to the premiere expecting to see himself as the lead character and was shocked when he saw that he was barely featured in the film, especially since Cpl. Fife was the central character in the novel on which the movie was based.
    • गूफ़
      In one of the flashback scenes where the soldier and his girlfriend are holding hands, modern cars can be seen out the window in the background.
    • भाव

      Private Edward P. Train: [narration] This great evil, where's it come from? How'd it steal into the world? What seed, what root did it grow from? Who's doing this? Who's killing us, robbing us of life and light, mocking us with the sight of what we might've known? Does our ruin benefit the earth, does it help the grass to grow, the sun to shine? Is this darkness in you, too? Have you passed through this night?

    • क्रेज़ी क्रेडिट
      Composer Wrangler. . . Moanike'ala Nakamoto
    • कनेक्शन
      Featured in HBO First Look: The Thin Red Line (1998)
    • साउंडट्रैक
      The Unanswered Question
      Composed by Charles Ives

      Performed by Orchestra of St. Luke's (as The Orchestra of St. Luke's)

      Conducted by John Adams

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल24

    • How long is The Thin Red Line?Alexa द्वारा संचालित
    • Why didn't Sgt Welsh (Sean Penn) want Staros to include him in his report? Staros clearly was going to report on Welsh's heroism in rushing out into a live fire zone to help Pvt Tella (Kirk Acevedo) and even recommend him for the Silver Star.
    • Why did Welsh take Seco off the front line for feeling sick over Keck's objections?
    • Will there be a director's cut?

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 15 जनवरी 1999 (यूनाइटेड स्टेट्स)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड स्टेट्स
    • भाषाएं
      • अंग्रेज़ी
      • टोक पिसिन
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