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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.

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.

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.

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?

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.