Full Metal Jacket

Stanley Kubrick | 1987

Full Metal Jacket is widely mischaracterised as solely an anti-war film.

Instead, it should be seen as a postmodern, absurdist comedy. This classification stems from the film's tone, which is largely established by its purposefully insane music choices, such as "Woolly Bully" and culminating with "The Mickey Mouse Club" sing-along.

While the ending song might suggest an anti-war satire to some, a deeper analysis reveals a broader comedic intent. The film does not explicitly aim to be either anti-war or pro-war; rather, it views war as a crucible of human existence. It depicts the absurdity of a global epoch post-atom bomb, where colonial wars and those driven by oligarchical corporations and banks led to experiences like Vietnam, often perceived as a "live war game."

A significant aspect of Full Metal Jacket is its avoidance of overt moral commentary. Unlike many war films that explicitly protest the conflict, this film, much like its literary source, focuses on depicting the daily realities for those involved. Marines in combat are shown to be concerned with immediate needs like food, orders, and interactions, rather than political objections to their presence. This approach is considered sincere, providing essential empirical data for understanding the war experience.

#### Kubrick’s Signature Alienation

Stanley Kubrick’s distinctive directorial style is evident throughout Full Metal Jacket, notably through an alienating element that permeates the film. This alienation is particularly apparent in dialogue scenes, where characters are often shown in profile rather than face-on, signifying a partial self and contributing to an unreal aura. The dialogue itself is frequently slow, stilted, and drawn out, creating a hypnotic state that departs from naturalistic realism. This deliberate unreality is purposeful, reinforcing the idea that the depicted situations are unimaginable. This alienation is also a tool to prompt the viewer to form their own opinions on the events.

#### Characters and Their Arcs

• Joker (Matthew Modine): The film’s protagonist, is presented with a deliberate distance from the audience. Viewers are not meant to like, root for, or even care about him. His character is often perceived as annoying, particularly his persistent John Wayne impression, which is intended to be cringeworthy. Joker exhibits minimal demonstrable growth or change throughout the film, suggesting that characters either emerge from war unchanged or are shockingly transformed. His role as a journalist for Stars and Stripes highlights the pervasive censorship of information in wartime, a meta-level element that draws parallels to modern media filtering.
• Private Pyle (Leonard): A character whose tragic demise at the end of the first act is a pivotal moment.
• Animal Mother: Functions as the "Dark Passenger" or "dark half" of Private Pyle. Emerging after Pyle's death, Animal Mother is depicted as Pyle "reborn hard." This interpretation is supported by their similar stature—both are the tallest and largest in their respective squads—and mirrored traits, such as Pyle's initial struggle with his rifle contrasting with Animal Mother's confident handling of an M60. This can be viewed through a Jungian lens, as a duality or a manifestation of the shadow self.
• Gunny (Arley R. Ermey): The drill sergeant, whose indoctrination of the recruits is portrayed as wild and eye-opening. His explicit goal is to mould the Marines into efficient killers, frequently repeating phrases like "kill, kill, kill." This blunt assertion of purpose is striking, making the audience acutely aware of the Marines' ultimate objective.
• Cowboy: He undergoes a discernible character arc, growing into a leadership role. His final words, "I can hack it," affirm his embrace of the warrior's role until the end.

Key Scenes and Symbolism

The training sequences at Parris Island are central to the film, showcasing the brutal indoctrination aimed at transforming raw recruits into hardened Marines. The film’s setting during the Tet Offensive and the Battle of Hue in the late 1960s provides a specific historical backdrop, and its focus on Marines, rather than the Army (a common subject in Vietnam films), offers a distinct perspective.

The scene featuring a helicopter pilot indiscriminately firing upon civilians while exclaiming "get some, get some" is frequently cited as particularly hateful and appalling. The lack of overt moral commentary from Joker in this scene is notable; it highlights a calculated moral void or a resignation within the characters, though some viewers might interpret it as cartoonish due to its starkness.

The film effectively uses symbolism, such as the absurd, surrealistic, postmodern, Jungian dialectic of the peace sign worn on Joker's helmet alongside the "born to kill" slogan. This paradox embodies the contradictory nature of war and the soldiers’ identities.