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Metal Jacket: I am alive and I have no fear

In Kubrick nothing is casual, although his film will surprise us. Take for example Metal Jacket. Now in its boot all is creative, captivating. First frame: black letters as categorical as some of her films. Background song opens Hello, Vietnam , Johnny Wright a sweet song about a soldier says goodbye to his beloved at the call of America against the Communists. Next is the title of the movie, Full Metal Jacket (full metal jacket ) clearly referring to the lining of metal bearing the bullets of 7.62 mm. Apparently, Kubrick read the term on a weapons magazine, and liked it. Thankfully, graduating at the end did not end as Hasford's novel on which it is based The Short Timers (short-term recruits ).

The first image is as easy as telling: a recruit looks at infinity with indifference and left to shearing by a military barber . The symbolic potential of the image is devastating and prepares us for what will come. Kubrick is not going to tell a conventional version of the Vietnam War, but neither to prefer to use an anti-war pamphlet. What we see is different. Kubrick does not moralize, nor frolics in vacuo aestheticism. Things are well, and the camera should be guided with respect to the characters, to life itself, like it or not.

is followed more images, more recruits similar planes leaving cut their hair, in metaphoric allusion to the loss of freedom that must characterize any good soldier. A Marine, as well replicate Sergeant Hartman later, no one owns anything except his rifle. Do not even have the right to keep your name. Thus, from this day are known as Cowboy , Snowball , Jester (Joker ) or Gomer Pyle (Recruit Ducks ) . The matches were shaved, and are almost indistinguishable from each other. Cease to be individuals, individuals to be passive machines, without thought. In a later scene a colonel Joker censorship the wearing of a badge with the peace symbol on his helmet, yet written with this view openly Born to Kill. Joker replied that is a symbol of duality that resides in every human being. Colonel blunt statement: "My Marines only ask that they obey my orders as if they were the word of God."

The initial parade shorn recruits is an example of master, recognizable in the denotative potential of their images, consistent with the general tone backbone throughout, and the simplicity with which it is shot. turn, is a resource smart to introduce the main characters and their context. Set in the final image into a tailspin, with the recruits hair scattered on the floor. No longer shows the silent face of the soldiers. Only reveals what will go with them, their identity, one that will recover over the remaining footage.

initial scene

If we relate this start with the final scene , acquires all relevant significance. It is night, soldiers returning from a hard day. In the background flames raze everything and illuminate the shadows of the marines. Joker's voice serene states: " For today we have registered very well with our name on the pages of history ." continues: "We outta to the Perfume River to spend the night ." The camera zooms slowly returning these soldiers, or rather, come to look death and survival. So, while walking slowly and steadily, sing, or rather sing, and without the virulence martial teach them in their day the colonel during the investigation. Tone, but illuminated at night the ruins of what they leave behind, an anthem because they are alive. But it is a solemn hymn is a parody of a military march that replaces the MIC KEY MOUSE by FUC KED AGAIN. The Mickey Mouse March was a TV tuning of the fifty Club Mickey Mouse .

MICKEY MOUSE

Let us always carry our flag high. Boys and girls
beyond and here.
to you all welcome. MICKEY MOUSE


Who is the head of the club ...?

Joker He concludes: " My head is again occupied by erotic dreams and hard nipples Carmen prick tease, and fuck fantasy of the great return. I'm so happy to be alive in one piece, and point. This world is a shit, yes. But I'm alive. And I have no fear. "

It parodies the banal patriotic songbook single soldier to return to the discourse of dehumanization human beings at the counterpoint of the will to live and have had . What remains after the smoke of war is the soldier who returns, a man without fear. Behind the recruit is silent and mediocrity from the start.

final scene

Kubrick meets this end a tradition within the anti-war film in which the discursive axis focuses on defense the individual against the senselessness of war. We are not here for anyone, just want to survive, return home . However, few have managed to break away as Kubrick moral tone, patriotic or complacent continue to monitor the genre decades later. Even a great director like Spielberg could not escape in Saving Private Ryan to the patriotic tone. have to save save save Ryan as a way of life, American, which respects each individual as unique (a creature of God, to be exact). Moreover, no soldier left in the lurch another .

Kubrick, however, avoids the naive patriotism Spielberg, bordering the discourse to a level almost anthropological. The will of man against the hostility of a bad world, mindless, of which only avoid loving it stay alive, if you can. The remaining arguments are fallacious, as the magazine that distills the Stars and Stripes whose team intended to Joker to distort the reality of war to the glory of the state.

The Kubrick film strives to show the revolutionary power of the image clean, distilled stereotypes, while Spielberg's populism leads to decline by resultón assurance demonstration.

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The incident


Praise of perplexity

after seeing the latest work from this director as personal and not transferable, the viewer can not require more certainty about the militant nature of his films, although it makeup the physicality of gender indiscreet that chooses. And is that your choice of horror or science fiction is more than circumstantial, and who serve the millimeter to wear what you want to display. Do not be confused of-show, because Shyamalan , despite its underlying discourse, does not seek to capture or defend ideas faithful more or less consolidated. Just his narrative is based on the recognition of uncertainty as a necessary trigger for reform of the emotional map their characters. Anyone who has followed his filmography will notice the family resemblance that govern each and every one of his films. In all gender is instrumented to create texture , to reference the emotional distress that encourages its players. No wonder that fans often see these kinds of Indian cinema as a substitute with no protein, or the addicted to dramas with depth charge red herring meantime suicide.

In the film Shyamalan and here are two pervasive elements: a threat ( incident ) and a human being perplexed , surmounted by a reality that can not be named, theory or therapy that exorcise. That threat is not caused by a being given (even Signals can be sure of the identity of the body ), nor is a reason that our science and our understanding may be decoded, however much the character of Elliot (Mark Wahlberg ) look reasonable grounds after each event, the end must surrender and leave the house without a net. The reading of the incident is deconstructed on the fly and never definitively or satisfactorily, and further requires the opening their victims emotionally stunned, perplexed recognized that they begin to see clearer (pure quantum!).

Shyamalan has a Westernized Eastern logic, not concealed in their narratives. In the West we believe we are active participants in our actions, we can control everything and categorize by concepts, theories or technologies complacent. But that attitude to life only generates more confusion and unhappiness. No wonder that the sociologist Durkheim placed as a feature of the industrialized world anomie , and suicide as one of its most devastating consequences. We live in a society that is deeply organized, rationalized, but it takes care of everyday relationships, emotions. This is exemplified in the character of Alma (Zooey Deschanel ), which only regains contact with itself when it should take care of Jess and when he sees danger is that deep down you love. Then discover the need to return to more basic emotions, so she decides to have her own child. In this sense the scene is significant communication between the house and shed. Or the curious coincidence that the largest groups to commit suicide, and more tribal and crowded be saved from the deadly winds. As an exception to the rule we have the hermit character of the final, but it is precisely this isolation from others to end it. Only that approach, the shot that put their emotions, they can circumvent the destroying angel .

The incident has two planes and hermeneutics. Emotional or psychological one, and another politician (or environmental). In fact, all his movies is written on the read two-faced. Shyamalan prophesy and sentencing a notice to mariners. The Western world is facing a crisis that is articulated not only the area of \u200b\u200binterpersonal relationships but also the most factual and immediate. This state of affairs is expressed violently in environmental degradation and its destructive effects on the population and the ecosystem. In The incident not conceal a certain nature metaphor alert for the self-destructive potential of human beings (the self-destruction becomes a metaphor for what our species makes itself). But it would be in the realm of emotions and their potential to create spaces non-destructive and self supportive (and what we saw in the proposal for a community united against adversity Lady in the Water ) which illuminates the medicine this holocaust. Nothing can help the atomization of the individual under tech mass of large cities, nor the isolation of rural nostalgia, suspected of difference as a pathogen (the scene of the murders in the cabin is illustrative of this terror that after the 11-S has a population succumbs to the mystical militarism of the Bush era). We must reinvent and reinvent our relationship with others, strengthen the social fabric immediate, unmediated by culture becomes institutionalized spontaneity advertising currency.

However, the director of The Sixth Sense -wise this is their under- not only articulates a speech. It also offers a patient exercise of good work in the scenes of terror, which are choreographed with a smart sense of timing, dosing, like a poison that we see going on characters inoculated to a final fleeing from the optimism, it keeps us in uncertainty. Unpayable the opening scenes, but even more terrifying scene in the car, with the slit in the hood, vibrating, foretelling disgrace, despite the safe comfort of a mathematical game.

Indeed, you know that Shyamalan appears in all his films, making a cameo hiperbreve. This is increasingly difficult to locate. Pay attention to the scene of the hanging at the entrance to Princeton.

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