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La sottile linea rossa

Titolo originale: The Thin Red Line
  • 1998
  • T
  • 2h 50min
VALUTAZIONE IMDb
7,6/10
207.665
LA TUA VALUTAZIONE
POPOLARITÀ
1486
70
La sottile linea rossa (1998)
Criterion trailer
Riproduci trailer2: 47
3 video
99+ foto
Historical EpicWar EpicDramaHistoryWar

Liberamente ispirato al romanzo autobiographico di James Jones, ambientato alla battaglia di Guadalcanal durante la seconda guerra mondiale.Liberamente ispirato al romanzo autobiographico di James Jones, ambientato alla battaglia di Guadalcanal durante la seconda guerra mondiale.Liberamente ispirato al romanzo autobiographico di James Jones, ambientato alla battaglia di Guadalcanal durante la seconda guerra mondiale.

  • Regia
    • Terrence Malick
  • Sceneggiatura
    • James Jones
    • Terrence Malick
  • Star
    • Jim Caviezel
    • Sean Penn
    • Nick Nolte
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,6/10
    207.665
    LA TUA VALUTAZIONE
    POPOLARITÀ
    1486
    70
    • Regia
      • Terrence Malick
    • Sceneggiatura
      • James Jones
      • Terrence Malick
    • Star
      • Jim Caviezel
      • Sean Penn
      • Nick Nolte
    • 1.6KRecensioni degli utenti
    • 165Recensioni della critica
    • 78Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 7 Oscar
      • 23 vittorie e 47 candidature totali

    Video3

    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

    Foto189

    Visualizza poster
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    + 183
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    Interpreti principali91

    Modifica
    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
    • Regia
      • Terrence Malick
    • Sceneggiatura
      • James Jones
      • Terrence Malick
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti1.6K

    7,6207.6K
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    Recensioni in evidenza

    CalRhys

    Visually Stunning And Philosophically Daring

    One of the most visually stunning and philosophically daring war films ever made. In 1978, Terrence Malick made the hit classic 'Days of Heaven', for 20 years after its release, Malick didn't create a single film, that was until the release of 1998's World War II epic 'The Thin Red Line; my God was the wait worth it. 'The Thin Red Line' is a complex and moving depiction of war that happens to act as one of the most realistic portrayals of WWII ever displayed, both visually and psychologically. Literally Malick emerged from hiding to create this gem of a classic that portrays the chaos of war. Despite being the same release year as the much more successful 'Saving Private Ryan', Malick's war flick will go down in Hollywood history as a truly special masterpiece.
    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.
    Philby-3

    A poem of a picture

    This film is three hours of movie poetry. "Saving Private Ryan," though brilliantly made, is a jingoistic cartoon by comparison. "Thin Red Line" follows a company of American rifleman brought in to consolidate the Allied grip on the Pacific island of Guadalcanal in 1942 in the face of Japanese invasion, but the place could be just about anywhere where war is fought.

    The company is not made up of conscripts but regular soldiers. Some of them have been in the Army more than 10 years. Some of them however have never seen real action before and this is a hot and uncomfortable location, despite the lovely tropical scenery. Some crack up, some die, some do heroic deeds. Their leaders are not particularly admirable; one is quite happy to get his men killed if he can come out of the action looking good.

    Out of sight for most of the film are the Melanesian inhabitants, the Solomon Islanders, who are carrying on living as best they can while the war rages around them. Their serenity is in sharp contrast to the frenetic military activity. Of course, there is nowhere for them to go.

    There is some action excitingly filmed but as in real wars much of the time is spent preparing and waiting. Personal stories unfold but at the end it is survival that matters.

    The lighting and photography is quite superb, the lighting in particular fitting the mood perfectly. Filming was not actually on Guadalcanal but near Port Douglas in Northern Queensland where there is similar tropical rainforest and fauna but with much easier logistics. It took ages apparently but seems more than worth the effort.

    This is probably one of the four or five greatest war films ever made, right up there with "All Quiet on the Western Front, " "Paths of Glory," "Bridge on the River Kwai" and "The Longest Day." Never has a movie better portrayed what it's like to be a frontline soldier.

    Terrence Malick has the reputation of being an eccentric, difficult director - Kubrick without the fear of flying. Yet this is not a particularly unconventional movie - it's just that everything hangs together - the story, dialogue, performances, photography and settings. On thing is clear - this is a better interpretation of James Jones' novel than the 1964 version.
    newonpluto

    every man fights his own war...

    what many people do not know is that this film, directed by terence malick, is without question the reason that Shakespeare in Love won the best picture oscar over the much favored Saving Private Ryan. why am i saying this? first let's deal with the movie. long? yes. too much? sometimes. but is it good? i can not begin to describe the beauty of this film.

    about the oscars, i only watched the film after its surprise nomination for best picture. i had seen the competition already, and it was time to check out the fifth nominee. i went to the theatre myself, and came out three hours later, went home, and i cried. not only because i was disturbed, but i loved every single character in the film. i wanted to be there for them, cry with them, fight their battle. many people who have watched the film have said the same thing to me.

    the Thin Red Line is sometimes painful to watch, but only because of its realistic juxtaposition of humanity, philosophy, and the terror of war. the film does not delve into any historical fact about Guadalcanal, except that the battle itself was terrifying (as is any battle). the characters introduce themselves through voice-over narration, which accompanies much of the action. and speaking of action, there is not much in the film. more images. images of war and the lives these soldiers left behind. this was Terence Malick's intent, of course, and many people were insulted and thought it was his own pretentious self getting the best of him. "boy he's a genius.. must he show it??" sometimes it is a little pretentious, but the film would've been "just another WWII film" if it was out of Malick's hands.

    i can not understand why Sean Penn is billed as the top actor or the main character of this film. he was there a lot, but the film is carried by Jim Caviezel as the beautiful and ethereal private Witt. words can not describe this performance. with as few lines as he had, Caviezel portrays the symbolic soul of Witt, and by the end of the film he will break your heart. also excellent performances from Nick Nolte and the understated Elias Koteas, who can stretch creepy (Crash) to sympathetic in the blink of an eye.

    now.. let's consider hollywood. sure they love Spielberg, and sure Private Ryan was a masterpiece (and it really was), but nobody even expected the Thin Red Line to get seven oscar nods, especially for best picture. but Shakespeare in Love was the crowd pleaser, and the other two were epic war films. most hollywood "artsy" people are anti-war.. kind of like the Thin Red Line. Private Ryan seemed to be MUCH more patriotic "pro-america" than the other. so if we've got anti-war on one side, and patriotism on the other... open and shut. the votes were split between the two, and Shakespeare emerged victorious. too bad.

    anyway... the Thin Red Line was definitely better than Shakespeare, and definitely a completely different film from Spielberg's. John Toll's cinematography and Hans Zimmer's score work together to convey the tone of Malick's lyrical and poetic direction, and both should have won oscars. this film is nothing short of breath-taking, though understandably not for the average american moviegoer.
    9kevin-193

    Superb, emotive filmmaking

    I'm very sorry I didn't get to see this film in the theatre. It is a beautifully filmed masterpiece with a superb story, excellent acting (esp. Nick Nolte), and a great script. It takes things way deeper than Saving Private Ryan or most other modern war movies dare to go. Very introspective and dreamy at times, with the camera constantly dwelling on faces, animals, and the landscape. Merrick is never in a hurry, and this pace suits the film well.

    The Thin Red Line asks a lot of good questions about death, war, and the ultimate meaning of life. Now that I have seen it, I'm very surprised that this film did not win picture of the year. Spielberg's film was a gritty, realistic portrayal of war. But it was also highly commercial and had a very contrived plot. In comparison, this film sort of wanders through itself and in the process helps to put you in the boots of the soldiers it portrays.

    My only criticism is perhaps the film was a bit long, but I never noticed that the second time through. I can't praise this film enough. Excellent work.

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    Trama

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    Lo sapevi?

    Modifica
    • Quiz
      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.
    • Blooper
      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.
    • Citazioni

      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?

    • Curiosità sui crediti
      Composer Wrangler. . . Moanike'ala Nakamoto
    • Connessioni
      Featured in HBO First Look: The Thin Red Line (1998)
    • Colonne sonore
      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

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    Domande frequenti24

    • How long is The Thin Red Line?Powered by Alexa
    • 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?

    Dettagli

    Modifica
    • Data di uscita
      • 19 febbraio 1999 (Italia)
    • Paese di origine
      • Stati Uniti
    • Lingue
      • Inglese
      • Tok Pisin
      • Giapponese
      • Greco
    • Celebre anche come
      • La delgada línea roja
    • Luoghi delle riprese
      • Guadalcanal, Isole Solomon
    • Aziende produttrici
      • Fox 2000 Pictures
      • Geisler-Roberdeau
      • Phoenix Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 52.000.000 USD (previsto)
    • Lordo Stati Uniti e Canada
      • 36.400.491 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 282.534 USD
      • 27 dic 1998
    • Lordo in tutto il mondo
      • 98.126.565 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      2 ore 50 minuti
    • Colore
      • Color
    • Mix di suoni
      • DTS
      • Dolby Digital
      • SDDS
    • Proporzioni
      • 2.35 : 1

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