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User Reviews (743) Though I've read only a couple of dozen of the nearly 500 comments on About 35,000 scientific papers at the risk of retraction for doctored images film, I didn't see any from ex-Marines who'd had the Parris Island experience. I went through PI in 1957. The time period in the picture would have been about 1967, since the in-country sequence includes the '68 Tet Offensive. Little had changed in those 10 years except the switch from M1s to M16s. For the most part Kubrick got Parris Island right on the money. And why shouldn't he have, since his screen DI, Lee Ermey was in fact a real DI before he started acting (he played another DI in "The Boys of Company C," an earlier and lesser Vietnam flick)? He had a built- in technical adviser. The screams and insults and profanity and physical punishment were all part of the DIs armamentarium. When you're facing up to 75 young strangers you need to immediately establish absolute authority and hang on to it for 13 weeks. Furthermore, you want to break the breakable as soon as you can. My platoon had its Private Pyles and though none ended up as he does in "Full Metal Jacket," I remember that they simply disappeared from our ranks, never to be heard from again. Nothing Ermey as Sgt. Hartman does is exaggerated. Kubrick, however, does exaggerate. Speaking of Pyle's ending, it's almost impossible for me to imagine that a recruit could manage to sneak a clip of live rounds away from the rifle range. Every shooter at the range has his own rifle coach, and every single round is very carefully accounted for. Kubrick started the killing one scene too early. I've read that DIs nowadays are forbidden to use the time-honored f-word, and are not allowed to lay hands on recruits. I don't know if that's good or bad for training (I had my face slapped hard my first day of boot camp and that was just for openers), but then all of us old-timers like to brag about how tough it useta be! A final note: It's interesting to compare "Full Metal Jacket" to another attempt at a portrayal of Parris Island, Jack Webb's "The DI," made around art two-day event or '56. Webb tries for authenticity, but as I was to learn a year or so later, his PI was a boy scout camp. "With flowers and my love both never to come back. It's not easy facing up when your whole world is black". So sings the man whose throbbing song marks the film's end, merciless lyrics to describe thematically a story that is as wrenching as it is mesmerizing. There are no villains in this film, only heroic victims. The villains are all off-screen, comfy behind mahogany desks, or dressed for success and giving shrill speeches about how maintaining peace requires war. Strange logic. First it's boot camp, a dreary prospect at best, for an ordinary group of young American men. Here, a sadistic drill Sargent, in colorful language, barks out orders and insults straight from Hades. It's do or die, almost literally, for our greenhorns. It's an ordeal of blackness from which some may never recover. Still, the grunts learn a valuable lesson; namely, that life is mostly physical, not mental. It's a lesson some ivory tower college professors never learn. But then it's on to an even blacker black. Vietnam. Combat scenes are rendered believable by effective visuals and terrific sound effects: pounding percussion, amplified sounds of equipment and footsteps across explosive debris, and an always present, ever-so-subtle. echo. Potent and torturous, these scenes convey a Zen-like immediacy, an impending sense of doom. And then at film's end, those lyrics . Composed of two, barely overlapping, parts, the script's structure is a bit unorthodox. But the film works, owing to an intensity that never lets up. R. Lee Ermey is of course terrific as the harsh drillmaster. Casting of the young lions is okay, though a tad weak in one or two cases. Insertion of pop songs of the era works well, to amplify the cultural disconnect between a war-torn Vietnam and an indifferent America. Like reading a history book, watching an occasional war movie is good for the soul. It puts one's problems in perspective. For that reason, this particular war movie is better than most. It's riveting, intense. And the sense of impending blackness hovers ever present over Reissue CDs Weekly: Kitchens of Distinction story's heroic victims, like the sword of Damocles. 'Full Metal Jacket' was a film that I had been meaning to watch for a while after all the good stuff I had heard about it. It really is a film of two halves, unfortunately I didn't like the 2nd half. The 1st half at boot camp was excellent, we saw a lot of character development and emotion as well as a lot of humour and really serious issues. R. Lee Ermey and Vincent Essay examples John Stossel: Seriously Mentally Ill were just brilliant. The 2nd half I didn't enjoy as much, it looked great and there was a lot of action but it was just a bit boring and felt really dragged out, whereas the 1st part just had everything that you wanted. Glad I got round to seeing it but wouldn't watch it again, slightly disappointed after a really good start to the film. I like Kubrick's stuff. Generally any movie he directed was several notches, in quality terms, above any other director (particularly those working nowdays). Does `Full Metal Jacket' continue to show the mastermind behind `2001', `The Shining' and `Dr. Strangelove'? Yup, it does. As plots go. there isn't much here. I don't particularly care because the script makes up for it. `Full Metal Jacket' is very much a movie of two halves - the first half dealing with a group of conscripts in training at military camp and the hardships they endure under their `hard-as-nails' instructor. The second half is about their exploits in Vietnam itself. Fights? In 'Nam? Haven't we seen all that before? Yes, but rarely with such an experienced hand at work. And it's the camp scenes that are so wonderful. Gustav Hasford et. Al. have produced an excellent script, particularly for the opening hour. There's barely a moment's pause before you're thrown into the screaming face of Sergeant Hartman. He's hurling abuse at his new recruits with lines so forceful and sharp they'll have you gasping in shock while simultaneously laughing in incredulity. It's the way the script runs in without a pause for breath that helps so wonderfully - and the fact that it's so powerful. It's never just about one-liners from a sergeant, it's also telling a story about how humans work under these conditions. The first half is about how they suffer under their own at home (and very well told it is too), the second half about the human condition under the duress of war. It's an interesting comparison, and a tale well told. The battle may lack some sort of overall context or resolution, but then I feel that's in keeping with the movie - it's about the individual, and not the war, and such elements cannot be easily quantified. All the characters have a grounded `real world' feel to them, due to both the material and the versatility of the actors. R. Lee Emery is viciously delightful as the manic Sergeant Hartman, while managing to add occasional touches of humanity and a `this is for your own good' attitude through subtle gestures. Matthew Modine is the amiable lead, Private Joker, and as such balances art two-day event hard and soft edges admirably (if not spectacularly). The other stand out though is Vincent D'Onofrio as Private Gomer Pyle, the recruit picked upon by Hartman and the other cadets. There's a wonderful innocence about him in the beginning, which transforms into a frightening hardening of his soul later on. The evil/beyond-hope look he gives later on (anyone who has seen the movie will know the one I mean), remains as the most frightening look I've ever seen depicted onscreen. All in all the cast accredit themselves well here. And so to the direction. It's Kubrick. It's good. Once more there's excellent cinematography - check out the haunting, almost claustrophobic landscapes of Vietnam. There's some lovely use of filters (that haunting blue). There's a brilliant subtle score, that's eerie when used, but never intrusive. There's a very good command of pace - the viewer is never left idle or bored, and the story (particularly in the tremendous first half) flows along smoothly. Great touches abound throughout - check out the many examples, such as the opening scene of Hartman marching right up to the recruits (and to the camera), spitting and screaming vindictive comments, almost as if at the viewer. Some Sharks Dylan Gambrell: Assigned to minor-league affiliate criticise the almost disconnected feeling you have in the battle scenes towards the end, but I found their stillness, their quietness, and raw power, far more effective than the flash-bang wizardry employed in tripe such as `We Were Heroes'. I can blather on about Kubrick for ages. so I'll stop now. Is `Full Metal Jacket' perfect? Not quite because of the `two halves' syndrome. Although they do contrast and complement one another, the first half is very much the stronger half. The second feels weaker against it. In and of itself the second half would normally be regarded well, but it doesn't have the visceral power that the first does. I love both bits, but I do love one bit more. This makes the movie suffer just a little. There's so much to like here though that I can't criticise too much - and so much to cherish (especially in the lines delved out). Once more the main man succeeds. Definetely worth seeing. 9/10. NO SPOILERS! This is a review, not a synopsis. First of all I love Kubrick's work, so I came into this with a bias. However I have seen a lot of action and war films, and this one, to an individual who never went to war, seems the most true-to-life, taken as a whole. This IS how you have to look at this film, incidentally; trying to break it down into two or three parts and say which was better is missing the point of the film, I think. In the same way that "Trainspotting" was an anti-drug film that did not gloss over anything, "Full Metal Jacket" is (for Smartest Celebrities With Degrees Hollywood Scholars an anti-war film that stares straight at the ugliness of war and the potential for violence within almost all people, especially those trained, conditioned, even twisted, into military roles, without preaching even a single time. Less allegory and more applicability! Wonderful! The camera work was superb. I felt like I was walking through the movie with the Marines, from the barracks to the battlefield scenes. I have seen others criticize this film for the voice over, but I felt that it was used sparingly, and was helpful, not overdone. The narrator doesn't say anything that seems out-of-place. Others have commented on the music, the acting, and so on, so I won't add my repetitive comments, except that the drill sergeant is perfect! The combination of the demented treatment the recruits receive in boot camp with the combined "hours of boredom, seconds of terror" feel of the Vietnam scenes is intense and not for everyone, but feels REAL. 10 out of 10, perfect. The first third of Stanley Kubrick's take on the Vietnam War is as powerful and shocking as any film ever made about the military. In the film's opening shots, we see close-ups of new Marine recruits getting their heads shaved at a military training post The next shot follows Hartman (R. Lee Ermey) as he strides through a barracks and completes the first stage of the young The Hermosa Inn to host food intimidating indoctrination into the Marine Corps The scene also establishes the measured pace that Kubrick maintains throughout. Booming, gloriously profane, and imaginative, Sgt. Hartman is a force of nature that will mold these boys into killing machines At that point, most war films would turn to the young men, sketch out their pasts and then show their transformation into a cohesive unit These kids are names and archetypes who will react differently to Hartman's approach. Kubrick makes Ermey such a mesmerizing force that one key early element is easy to overlook From the first moment we see him in the barber's chair, before we even know his name, it is abundantly clear that Leonard is mad He has that familiar vacant, smiling, dull-eyed expression of evil that Kubrick also uses to define Little Alex in "A Clockwork Orange" and Jack Torrance in "The Shining." The other characters do not see it, and so the inevitable confrontation between Hartman and Leonard is all the more horrifying. The middle section of the film establishes Joker's role as a war reporter, working behind the lines during the Tet Offensive of 1968, and his desire for some "trigger time" with his old pals from basic That's where Kubrick shapes his view of the Vietnam war. In the third part, a new sociopath named Animal Mother (Adam Baldwin) is introduced, and the focus shifts to a patrol searching through the bombed out city of Hue to art two-day event out a sniper That is where the filmmakers comment most pointedly on the war itself They see it as a dead-end that serve no purpose That's certainly a valid artistic interpretation of history Many other films have made the same points, often more eloquently But Kubrick isn't interested in eloquence, either. The three sections are unmistakably separated from each other The first stands on its own though key elements are stated again at the end. For the viewer expecting a "traditional" war film, the result is disconcerting, frustrating, and somehow unfinished Most Kubrick fans will admit that "Paths of Glory" and "Dr. Strangelove" are more enjoyable, but even if their man is not in top form, "Full Metal Jacket" is challenging, and repeated viewings reveal more details and connections. SPOILER: Full Metal Jacket is a 1987 realistic Vietnam war film and is one of the best films of the 80's ever made, directed and produced by Stanley Kubrick. The screenplay by Kubrick, Michael Herr, and Gustav Hasford was based on Hasford's novel The Short-Timers (1979). Full Metal jacket (1987) was Nominated for 1 Oscar. Another 7 wins & 9 nominations. It is one of my personal favorite war movies. I love this movie to death. A superb ensemble falls in for for Stanley Kubrick's brilliant saga about the Vietnam War and the dehumanizing process that turns people into trained killers. Joker (Matthew Modine), Animal Mother (Adam Baldwin), Gomer (Vincent D'Onofrio), Eightball (Dorian Harewood), Cowboy (Arliss Howard) and more experience boot-camp hell pit bulled by a leather lung D.I. (Lee Ermey) viewing would-be devil dogs as grunts,maggots or something less. The action is savage, the story unsparing the dialog spiked with catching humor. From Basic training rigors to Hue City combat nightmare, Full Metal Jacket scores a cinematic direct hit. The film focus on a two-segment look at the effect of the military mindset and war itself on Vietnam era Marines. The first half follows a group of recruits in boot camp under the command of the punishing Gunnery Sergeant Hartman. In the hell camp the dehumanizing process turns people into trained killers. From boys in to a trained mean machine killers. It's the late 1960s at Parris Island, South Carolina, the U.S. Marine Corps Training Camp, where a group of young Marine recruits, after having their heads shaved, are being prepped for basic training by the brutal Gunnery Sergeant Hartman (R. Lee Ermey), whose orders are to "weed out all non-hackers". Hartman gives each of the Marines nicknames; one pragmatic recruit who talks behind his back becomes "Joker" (Matthew Modine); a Texas recruit becomes "Cowboy" (Arliss Howard). And finally Leonard Lawrence, a 6-foot 3-inch, 280 pound, slow-witted recruit with low intelligence and ambition becomes "Gomer Pyle" (Vincent D'Onofrio), and the focus of Hartman's brutality, because the overweight boy cannot keep up with the other more physically fit recruits in the grueling obstacle courses. The first half more focus on training basics Hit that injured Tennessee States Christion Abercrombie was clean essay recruits before they ship them to Vietnam and point view story telling from Private James T. "Joker" Davis (Matthew Modine) and about torture physics of a young men who is a marine recruit in the platoon lead by Gunnery Sergeant Hartman his Parris Island drill instructor who tortures him by punish his whole squad for his mistakes. And how that young man turns in to a killing mean machine that blows Hartman's head off! And than Pyle sits down on a toilet, places the muzzle of the weapon in his mouth and pulls the trigger, killing himself. The second half shows one of those recruits, Joker, covering the war as a correspondent for Stars and Stripes, focusing on the Tet What Is Your Reaction to the #MeToo Movement?. The film now more focus on one of those recruits Private Joker (Matthew Moddine) from the boot camp Parris Island, who is in Da Nang Vietnam, reporting on the Vietnam War for the military newspaper Stars and Stripes. He and his partner, combat photographer Rafterman (Kevyn Major Howard), meet a prostitute (Leanne Hong) in the streets and encounter a thief (Nguyen Hue Phong) who steals Rafterman's camera. When they return to their base, they are given new assignments, but Joker wants to go to the front lines to get a good story. Joker and Rafterman are assigned to Phu Bai, a Marine forward operating-base near the ancient Vietnamese city of Hue, Joker is reunited with his team recruit from his training boot camp Paris Island, Cowboy and his unit, the Lusthog Squad, before they met Cowboy's Unit they are go trough They go to the mass grave and find over 20 bodies in a mass grave that have been covered with lime. The film is Staney Kubrick's best realistic Vietnam War film of all time. One of my all time favorite Vietnam War flicks from the 80's, the other film is Platoon (1986) Once more there's excellent cinematography - check out the haunting, almost claustrophobic landscapes of Vietnam. The combination of the demented treatment the recruits receive in boot camp with the combined "hours of boredom, seconds of terror" feel of the Art two-day event scenes is intense and not for everyone, but feels REAL. I love how the film focus more in a city of Hue and the battlefield starts their. The battle scene sequences are outstanding and Terrific!They look real, There are dozen's of body's out their. We first see Tank driving trough the city of Hue the city's are filed with fire, burning buildings and destroyed houses and street is full of blood. Sergeant Animal Mother (Adam Baldwin),the nihilistic M60 machine gunner of the Lusthog Squad is one of the most beloved characters in the movie and he is at best a supporting cast member. But you wouldn't even think about Animal Mother being just another guy. He is so memorable that you look at him as one of the stars of the show. 'Born to Kill' - written on Joke's helmet. Is sequent that it has to do with the "duality of Man" according to Jung. 10/10.