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The Thin Red Line

Theatrical poster
Directed by Terrence Malick
Produced by Robert Michael Geisler
John Roberdeau
Grant Hill
Written by Screenplay:
Terrence Malick
Novel:
James Jones
Starring James Caviezel
Sean Penn
Adrien Brody
Ben Chaplin
George Clooney
John Cusack
Woody Harrelson
Elias Koteas
Nick Nolte
John C. Reilly
John Travolta
Music by Hans Zimmer
Cinematography John Toll
Editing by Leslie Jones
Saar Klein
Billy Weber
Distributed by 20th Century Fox
Release date(s) United States December 25, 1998 (limited)
United States January 8, 1999
Canada January 15, 1999
Australia February 18, 1999
Thailand February 19, 1999
New Zealand February 25, 1999
United Kingdom February 28, 1999
Running time 170 minutes
Country United States
Language English
Budget $52,000,000 (est.)
Gross revenue Worldwide:
$98,126,565

The Thin Red Line is a 1998 war film which tells a fictional story of United States forces during the Battle of Guadalcanal in World War II. It portrays men in C Company, and in particular, those soldiers played by Jim Caviezel, Nick Nolte, and Ben Chaplin.

The film marked director Terrence Malick's return to filmmaking after a twenty-year absence. He wrote the screenplay based on the novel by James Jones. It features a large ensemble cast, including performances and cameos by notable actors, including Sean Penn, Adrien Brody, George Clooney, John Cusack, Jared Leto, and John Travolta. Reportedly, the first assembled cut took seven months to edit and ran five hours. By the final cut, all footage of the performances by Billy Bob Thornton, Martin Sheen, Gary Oldman, Bill Pullman, Lukas Haas, Viggo Mortensen and Mickey Rourke had been removed. The film was scored by Hans Zimmer and shot by John Toll.

While not successful at the North American box office, the film was a moderate commercial success worldwide, grossing $98 million against its $52 million budget. Critical response was generally strong and the film was nominated for seven Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, Best Cinematography, Best Film Editing, Best Original Score and Best in Sound Mixing.

It won the top prize at the 1999 Berlin International Film Festival. Martin Scorsese ranked it as his second favorite film of the 1990s on At the Movies. Gene Siskel called it "the greatest contemporary war film I've seen."

Contents

Plot

When the film opens, U.S. Army Private Witt (James Caviezel), is AWOL from his unit and living with Melanesian natives in the South Pacific. He is found and imprisoned on a troop carrier by his company First Sergeant, Welsh (Sean Penn). In Welsh's conversation with Witt, it is clear that the private is unenthusiastic about serving in the army.

The men of C Company have been brought to Guadalcanal as reinforcements in the campaign to seize the island from the Japanese. As they wait in the holds of a Navy transport, they contemplate their lives and the impending invasion. On deck, Lieutenant Colonel Tall (Nick Nolte) talks with his commanding officer, Brigadier General Quintard (John Travolta), about the invasion and its importance. Tall's voice-over reveals that he has been passed over for promotion and this battle may be his last chance to command a victorious operation.

C Company lands on Guadalcanal unopposed and hikes to the interior of the island, encountering little evidence of a Japanese presence at all. At one point they find the mutilated bodies of two G.I.s. They arrive near Hill 210, a key Japanese position. The Japanese have placed a bunker housing several machine guns at the top of the hill, giving them full view of the valley below. Any force attempting to climb the hill can be easily cut down by machine-gun fire and mortar rounds.

A brief shelling of the hill begins the next day at dawn. Shortly after, C Company attempts to take the hill and are repulsed by gunfire from the bunker. Among the first killed in the battle is the leader of the attacking platoon, Second Lieutenant Whyte (Jared Leto). During the battle, Colonel Tall fiercely orders his field officer, Captain Staros (Elias Koteas) to take the bunker by frontal assault, whatever the cost. Staros refuses, not wanting his men to be cannon fodder. When the two reach a stalemate, Tall decides to join Staros on the front line to see the situation for himself. By the time he arrives, the Japanese resistance seems to have lessened, and Tall's opinion of Staros seems to have been sealed. Also, during the battle, Pvt. Witt, having been assigned punitively as a stretcher bearer, asks to rejoin the company, and is permitted to do so.

A small detachment of men perform a reconnaissance mission on Tall's orders to determine the strength of the Japanese bunker. Private Bell (Ben Chaplin) reports back that there are five machine guns in the bunker. He joins another small detachment of men, led by Captain Gaff (John Cusack), on a flanking mission to take the bunker. The operation is a success and the rest of C Company are then able to overrun one of the last Japanese strongholds on the island. They are successful in this regard; the Japanese they find are largely malnourished, dying and put up little resistance.

A long stretch of the story then centers on the personal lives and moral views of the men. Staros is relieved of his command for disobeying Tall's orders. Tall nevertheless promises to recommend Staros for several decorations and JAG duty in Washington, D.C. – he does not want the unit's name to be stained by the fact of having an officer removed from command. Elsewhere, Private Bell receives a letter from his wife asking him for a divorce. Witt leaves the company to find another native village, only to find that his sense of peace in such places has been shaken, as he sees that even here there is horror and evil. He returns to the company before his departure has been noted. A conversation involving 1st Sgt. Welsh and Witt follows, revealing that Welsh is unhappy around other people. The scene highlights Witt's devotion to the spark of light and glory he sees in people, even in death.

The unit is sent out on another mission further into the interior of the island. Witt and two other men, Cpl. Fife (Adrien Brody) and Pvt. Coombs, are sent out but find that their unit is heavily outnumbered and must retreat; however, getting word back to Lieutenant Band (Paul Gleeson), who has replaced Staros as the Company Commander, will be difficult since they are surrounded. Witt decides to act as a decoy and lure the Japanese away from his two companions and the rest of their unit. He succeeds in drawing the Japanese away, but in the course of retreating, is surrounded when he runs into a small clearing. One Japanese soldier advances toward Witt, shouting in Japanese for him to surrender. Witt's face assumes a blissful expression, reminiscent of his opening narration describing his mother's peaceful acceptance of her death and his desire to meet his own death with the same calm. He then raises his rifle and is instantly shot. The unit later finds his body and buries it on the island. The film ends with another new commanding officer (George Clooney) taking over C Company and giving wishful speeches on what his command would like to be, as some paternalistic protection in a family, and the campaign coming to a close with the unit boarding transport ships to leave the island.

Production

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Screenplay

New York–based producer Bobby Geisler first approached Malick in 1978 and asked him to direct a film adaptation of David Rabe's play In the Boom Boom Room. Malick declined the offer, but instead discused the idea of a film about the life of Joseph Merrick, but once word got out about David Lynch's The Elephant Man, he shelved the idea. In 1988, Geisler and John Roberdeau met with Malick in Paris about writing and directing a movie based on D. M. Thomas' 1981 novel The White Hotel. The director declined but told them that he would be willing instead to write either an adaptation of Molière's Tartuffe or of The Thin Red Line. The producers chose the latter and paid Malick $250,000 to write a screenplay.[1]

Malick began adapting The Thin Red Line on January 1, 1989. Five months later, the producers received his first draft that was 300 pages long. According to an article in Entertainment Weekly magazine, they gained the director's confidence by "catering to his every whim".[2] Providing him with obscure research material, including a book titled Reptiles and Amphibians of Australia, an audiotape of Kodo: Heartbeat Drummers of Japan, information on the Navajo code talkers enlisted by the United States Marine Corps to communicate in their native Navajo language in case Japanese troops intercepted radio transmissions, making his travel plans and helping the director and his wife Michele get a mortgage for their Paris apartment.[3]

The producers spent a lot of time talking with Malick about his vision of the film. Geisler said, "Malick's Guadalcanal would be a Paradise Lost, an Eden, raped by the green poison, as Terry used to call it, of war. Much of the violence was to be portrayed indirectly. A soldier is shot, but rather than showing a Spielbergian bloody face we see a tree explode, the shredded vegetation, and a gorgeous bird with a broken wing flying out of a tree".[1] Malick spent years working on other projects, including a stage production of Sansho the Bailiff and a script known as The English-Speaker, spending $2 million of the producers' money, half of which for writing.[1] In 1990, the director met with James Jones' daughter Kaylie and his widow Gloria about adapting The Thin Red Line into a film.[4] By January 1995, Geisler and Roberdeau were broke and pressured Malick to decide which one he would complete. They approached Malick's former agent, Mike Medavoy who was setting up his own production company, Phoenix Pictures, and he agreed to give them $100,000 to start work on The Thin Red Line.[1] Medavoy had a deal with Sony Pictures and Malick began scouting locations in Panama and Costa Rica before settling on the rain forests of northern Australia.[5] In April 1997, three months before filming, Sony pulled the plug while crews were building the sets in Queensland because new studio chairman John Calley did not think Malick could make his movie with the proposed $52 million budget.[5] The director traveled to Los Angeles with Medavoy to pitch the project to various studios. 20th Century Fox agreed to put up $39 million of the budget with the stipulation that Malick cast five movie stars from a list of ten who were interested.[5] Pioneer Films, a Japanese company, contributed $8 million to the budget, and Phoenix added a further $3 million.[5]

Casting

When Sean Penn met Malick, he told him, "Give me a dollar and tell me where to show up".[2] Scripts were also sent to Robert De Niro, Robert Duvall and Tom Cruise. In 1995, once word went out that Malick was making another movie after many years, numerous actors approached him. At Medavoy's home in 1995, he staged a reading with Martin Sheen delivering the screen directions, and Kevin Costner, Will Patton, Peter Berg, Lukas Haas and Dermot Mulroney playing the main roles.[1] In June of that year, a five-day workshop was scheduled at Medavoy's with Brad Pitt dropping by and culminating with Malick putting on the soundtrack of Where Eagles Dare and playing Japanese Kodo drums. Malick even met with an interested Johnny Depp at the Book Soup Bistro on the Sunset Strip.[1]

Edward Norton flew out to Austin and met Malick, who had been impressed by the actor's screen test for Primal Fear. Matthew McConaughey reportedly took a day off filming A Time to Kill to see Malick. Others followed, including William Baldwin, Edward Burns and Leonardo DiCaprio who flew up from the Mexico set of Romeo + Juliet to meet Malick at the American Airlines lounge in the Austin airport.[3] Before the casting was finalized, Nicolas Cage had lunch with Malick in Hollywood in February 1996. The director went off to scout locations and tried calling the actor that summer only to find out that his phone number had been disconnected. Malick felt insulted and refused to even consider Cage for a part.[3] Malick told Tom Sizemore that he wanted him for a role in his film and the actor agreed. Sizemore, however, was offered a more substantial role in Saving Private Ryan and when he could not contact Malick for several days, decided to do Steven Spielberg's film instead.[3]

To appease the studio, Malick cast George Clooney in a small role. Geisler remembers, "Terry was worried that having a big star like Clooney play a character who enters the film near the end would be distracting".[2] James Caviezel, who was cast as Private Witt, credits Malick's casting of him as the turning point in his career.[6] Cinematographer John Toll began talking to Malick in August 1996 several times over the phone about the film.[7] Toll met Malick in September of the same year and was asked to do the film in the beginning of 1997. Malick and Toll began location scouting in February 1997 and started principal photography in June of that year.[7]

Principal photography

Pre-production went slowly as Malick had a hard time making decisions. Weeks before filming began, Malick told Geisler and Roberdeau not to show up in Australia where the film was being made because George Stevens Jr. would be the on-location producer supporting line producer Grant Hill.[1] Malick told them that they had upset the studio for refusing to give up above-the-title production credit to Stevens. He did not tell them, however, that in 1996 he had a clause inserted in his contract barring the producers from the set.[2] Geisler and Roberdeau were mystified about this behavior with Geisler telling Entertainment Weekly, "I didn't think he was capable of betrayal of this magnitude".[2]

Malick and Toll scouted the actual battlefields on Guadalcanal and shot footage but the logistics were too difficult to shoot the entire film there.[7] The Thin Red Line was filmed predominantly in the Daintree Rainforest in north Queensland, Australia.[8] Filming also took place on Dancer mountain which had such rough terrain that trailers and production trucks could not make it up the hill. A base camp was set up at its base and roads carved out of the mountain. Transporting 250 actors and 200 crew members up the hill took two hours. Malick's unconventional filming techniques included shooting part of a scene during a bright, sunny morning only to finish it weeks later at sunset. He would make a habit of pointing the camera away during an action sequence and focus on a parrot, a tree branch or other fauna.[4] Malick's reputation and working methods commanded great respect among the actors with both Woody Harrelson and John Savage staying on for an extra month after they finished all of their scenes just to watch the director at work.[4] He shot for 100 days in Australia, 24 in the Solomon Islands and three in the United States. The decision not to shoot on the island of Guadalcanal was a practical one. It has a 50% rate of malaria and it lacked logistical feasibility. As director of photography John Toll said, "It's still a bit difficult to get on and off the island, and we had some scenes that involved 200 or 300 extras. We would have had to bring everybody to Guadalcanal, and financially it just didn't make sense".[9]

Post-production

In addition to the cast seen in the final cut of the film, Billy Bob Thornton, Martin Sheen, Gary Oldman, Bill Pullman, Lukas Haas, Viggo Mortensen and Mickey Rourke also performed, but their scenes were eventually cut. Editor Leslie Jones was on location for five months and rarely saw Malick, who left her to her own devices.[10] After principal photography wrapped, she came back with a five-hour first cut and spent seven months editing, with Thornton contributing three hours of narrative voice-over material.[2][10] It was at this point that editor Billy Weber came on board and they spent 13 months in post-production and the last four months mixing the film, using four Avid machines with a fifth added at one point.[10] There were no preview screenings but several in-house ones, the largest of which was attended by 15 people for marketing executives.[10] The editors faced the challenge of blending footage of veteran actors with less-experienced ones, integrating the many cameos, and the voice-overs. According to Jones, "Malick removed scenes with dialogue whenever possible, with the final film varying greatly from the original concept".[10] Four months after principal photography, Malick invited Toll to a rough cut screening of the film.[7] In December 1998, Toll did the first color correction at the lab prior to the film's release in North America.[7]

The editing also resulted in many of the well-known cast members being on screen for only a brief period: for example, John Travolta and George Clooney's appearances are little more than cameos, yet Clooney's name appears prominently in the marketing of the movie. The unfinished film was screened for the New York press on December 1998 and Adrien Brody attended a screening to find that his originally significant role, "to carry the movie",[11] as he put it, had been reduced to two lines and approximately five minutes of screen time. Malick was upset that the studio screened his unfinished version for critics and Penn ended up helping him in the editing room, shaping the final version.[2] Malick spent three more months and cut 45 additional minutes from the film. The director refused to subject his film to test screenings before delivering his final cut.[12] After Geisler and Roberdeau told their story to Vanity Fair magazine, Medavoy's attorneys declared them in breach of contract and threatened to remove their names from the film unless they agreed to do no future interviews until after the Academy Awards.[1]

Cast

Music

The film score was composed by Hans Zimmer, and the album was nominated for Original dramatic score at the 71st Academy Awards. It was Hans Zimmer's fifth and third consecutive Oscar nomination as a composer, but he lost out to the Italian film Life is Beautiful. The album was released by RCA Victor and conducted by Gavin Greenaway

Zimmer wrote several hours of music, and an abundance of different themes, even before Malick started to shoot the film. The director then played the music on the set, while filming, to get himself, and the rest of the crew and actors in the right frame of mind. The official soundtrack features tracks that were not used on the film and some tracks from the film are not found on the CD. The film features several pieces of Melanesian choral music sung by the Choir of All Saints in Honiara, only one of which is featured on the soundtrack[13]. However, another soundtrack was released containing several tracks from the Choir, which has since gone out of circulation[14].

Reaction

Box office

The Thin Red Line was given a limited release on December 25, 1998, in five theaters where it grossed $282,534 on its opening weekend. The film was given a wide release on January 15, 1999, in 1,528 theaters where it grossed $9.7 million during its opening weekend. Its total North American gross is $36 million, well below its $52 million budget.[15]

Critical reception

Critical responses were generally strong. The film has a rating of 78% on Rotten Tomatoes, with a 95% rating amongst top critics[16] and 78 metascore on Metacritic.[17] Gene Siskel ranked described it as the "finest contemporary war film I've seen, supplanting Steven Spielberg's Saving Private Ryan from earlier this year, or even Oliver Stone's Platoon from 1986."[18] Roger Ebert was more subdued in his praise, giving it three stars, saying that it felt confused and unfinished, but was "fascinating ... The battle scenes themselves are masterful, in creating a sense of the geography of a particular hill, the way it is defended by Japanese bunkers, the ways in which the American soldiers attempt to take it ... Actors like Sean Penn, John Cusack, Jim Caviezel and Ben Chaplin find the perfect tone for scenes of a few seconds or a minute, and then are dropped before a rhythm can be established".[19] In his review for Time magazine, Richard Corliss wrote, "Some films deal in plot truth; this one expresses emotional truth, the heart's search for saving wisdom, in some of the most luscious imagery since Malick's last film, the 1978 Days of Heaven".[20] Mike Clark of USA Today gave the film four out of four stars.[21] In his review for the Washington Post, Michael O'Sullivan wrote, "The Thin Red Line is a movie about creation growing out of destruction, about love where you'd least expect to find it and about angels – especially the fallen kind – who just happen to be men".[22] Owen Gleiberman gave the film a "B-" in his review for Entertainment Weekly and wrote, "The Thin Red Line could, I think, turn out to be this season's Beloved, a movie too paralyzingly high-minded to connect with audiences".[23] In her review for the New York Times, however, Janet Maslin wrote, "The heart-piercing moments that punctuate its rambling are glimpses of what a tighter film might have been".[24]

Awards

The Thin Red Line was nominated for Academy Awards for Best Cinematography, Best Director, Best Film Editing, Best Original Score, Best Picture, Best Sound and Best Adapted Screenplay. It failed to win any of these awards.[25] However, the film was awarded the Golden Bear for Best Film at the Berlin International Film Festival for 1999.[26] The Thin Red Line was named Best Cinematography for 1998 by the National Society of Film Critics in 1998.[27] Time magazine ranked Malick's film #6 on their Best of 1998 Cinema list.[28] Jonathan Rosenbaum, a film critic for the Chicago Reader, ranked Malick's film as his second favorite film of 1999.[29] Martin Scorsese ranked it as his second favorite film of the 1990s on Roger Ebert's television show.[29]

References

  1. ^ a b c d e f g h Biskind, Peter (December 1998). "The Runaway Genius". Vanity Fair. 
  2. ^ a b c d e f g Young, Josh (January 15, 1999). "Days of Hell". Entertainment Weekly. 
  3. ^ a b c d Abramowitz, Rachel (March 1999). "Straight Out the Jungle". The Face. 
  4. ^ a b c Puig, Claudia (January 7, 1999). "The Magic of Malick". USA Today. 
  5. ^ a b c d Docherty, Cameron (June 7, 1998). "Maverick Back from the Badlands". Sunday Times. 
  6. ^ Atkinson, Michael (November 2001). "James Caviezel: why Hollywood learned to pronounce his name in a hurry - Interview". Interview. http://findarticles.com/p/articles/mi_m1285/is_11_31/ai_94690066. Retrieved 2007-05-11. 
  7. ^ a b c d e Bourton, Tom (May 2000). "The Art of War". Home Cinema Choice. http://www.homecinemachoice.com/articles/hccarticles/interviews/JohnToll/200005ArtOfWar.php. Retrieved 2007-11-27. 
  8. ^ Handy, Bruce; Port Douglas (October 13, 1997). "His Own Sweet Time". Time. http://www.time.com/time/magazine/article/0,9171,987179,00.html. Retrieved 2008-11-11. 
  9. ^ Pizzello, Stephen (February 1999). "The War Within". American Cinematographer. http://www.theasc.com/magazine/feb99/war/index.htm. Retrieved 2008-01-07. 
  10. ^ a b c d e Torgerson, Liv (May/June 1999). "Conversations With ... Billy Weber and Leslie Jones". Motion Picture Editors Guild Newsletter 20 (3). http://www.editorsguild.com/v2/magazine/Newsletter/MayJun99/weber_jones.html. Retrieved 2007-11-27. 
  11. ^ Mottram, James (April 21, 2001). "The Prime of Mr. Adrien Brody". The Independent. 
  12. ^ Portman, Jamie (January 2, 1999). "Elusive Director Surfaces with Thin Red Line". Montreal Gazette. 
  13. ^ http://www.scorereviews.com/reviews/review.aspx?id=254
  14. ^ http://www.amazon.com/Chants-Melanesian-Choirs-Blessed-Islands/dp/B00000IGF3
  15. ^ "The Thin Red Line". Box Office Mojo. October 19, 2007. http://www.boxofficemojo.com/movies/?id=thinredline.htm. Retrieved 2007-10-19. 
  16. ^ "The Thin Red Line Movie Reviews, Pictures - Rotten Tomatoes". www.rottentomatoes.com. http://www.rottentomatoes.com/m/1084146-thin_red_line/. Retrieved 2009-11-30. 
  17. ^ "Thin Red Line, The reviews at Metacritic.com". www.metacritic.com. http://www.metacritic.com/video/titles/thinredline?q=The%20Thin%20Red%20Line. Retrieved 2009-11-30. 
  18. ^ Siskel, Gene. "The Thin Red Line". Siskel & Ebert. http://www.youtube.com/watch?v=yyLPiJsQRWo&feature=related. Retrieved 2010-02-05. 
  19. ^ Ebert, Roger (January 8, 1999). "The Thin Red Line". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19990108/REVIEWS/901080302/1023. Retrieved 2007-10-19. 
  20. ^ Corliss, Richard (December 28, 1998). "Ho, Ho (Well, No)". Time. http://www.time.com/time/magazine/article/0,9171,989927,00.html. Retrieved 2007-11-11. 
  21. ^ Clark, Mike (December 23, 1998). "Stirring Red Line Captures War's Humanity and Horror". USA Today. 
  22. ^ O'Sullivan, Michael (January 8, 1999). "Red Line: Above and Beyond". Washington Post. 
  23. ^ Gleiberman, Owen (December 23, 1998). "The Thin Red Line". Entertainment Weekly. http://www.ew.com/ew/article/0,,63840,00.html. Retrieved 2007-11-27. 
  24. ^ Maslin, Janet (December 23, 1998). "Beauty and Destruction in Pacific Battle". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9C07E5DC133CF930A15751C1A96E958260. Retrieved 2008-01-07. 
  25. ^ "The Thin Red Line". Variety. http://www.variety.com/profiles/Film/main/31401/The%20Thin%20Red%20Line.html?dataSet=1. Retrieved 2008-01-10. 
  26. ^ "The Thin Red Line". Berlin International Film Festival. 1999. http://www.berlinale.de/en/archiv/jahresarchive/1999/03_preistraeger_1999/03_Preistraeger_1999.html. Retrieved 2008-01-07. 
  27. ^ Carr, Jay (January 4, 1999). "National Film Critics Tap Out of Sight". Boston Globe. 
  28. ^ "The Best of 1998 Cinema". Time. December 21, 1998. http://www.time.com/time/magazine/article/0,9171,989881,00.html. Retrieved 2008-11-11. 
  29. ^ a b Rosenbaum, Jonathan Rosenbaum (2000). "Hope Springs Eternal". Chicago Reader. http://www.chicagoreader.com/movies/archives/2000/0100/000107.html. Retrieved 2007-11-27. 

Further reading

External links


Quotes

Up to date as of January 14, 2010

From Wikiquote

The Thin Red Line (1998) tells the story of United States Forces during the Battle of Guadalcanal in World War II. Terrence Malick adapted the screenplay himself from the James Jones novel of the same name.

Contents

Private Witt

  • I remember my mother when she was dyin', looked all shrunk up and gray. I asked her if she was afraid. She just shook her head. I was afraid to touch the death I seen in her. I couldn't find nothin' beautiful or uplifting about her goin' back to God. I heard of people talk about immortality, but I ain't seen it. I wondered how it'd be like when I died, what it'd be like to know this breath now was the last one you was ever gonna draw. I just hope I can meet it the same way she did, with the same... calm. 'Cause that's where it's hidden - the immortality I hadn't seen.
  • One man looks at a dying bird and thinks there's nothing but unanswered pain. That death's got the final word, it's laughing at him. Another man sees that same bird, feels the glory, feels something smiling through it. (Said by Seargent Welsh, actually.)
  • voice over We were a family. How'd it break up and come apart, so that now we're turned against each other? Each standing in the other's light. How'd we lose that good that was given us? Let it slip away. Scattered it, careless. What's keepin' us from reaching out, touching the glory?
  • voice over This great evil. Where does it come from? How'd it steal into the world? What seed, what root did it grow from? Who's doin' this? Who's killin' us? Robbing us of life and light. Mockin' 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?

First Sergeant Edward Welsh

  • In this world, a man, himself, is nothing. And there ain't no world but this one.
  • Where's your spark now?
  • I might be the best friend you ever had, you don't even know it.
  • What difference do you think you can make, one single man in all this madness? If you die, it's gonna be for nothing. There's not some other world out there where everything's gonna be okay. There's just this world. Just this rock.
  • Property. The whole fucking thing's about property.
  • Everything's a lie. Everything you hear, everything you see. So much to spew out. They just keep coming, one after another. You're in a box. A moving box. They want you dead, or in their lie... There's only one thing a man can do - find something that's his, and make an island for himself. If I never meet you in this life, let me feel the lack; a glance from your eyes, and my life will be yours.

Private Jack Bell

  • Why should I be afraid to die? I belong to you. If I go first, I'll wait for you there, on the other side of the dark waters. Be with me now.
  • Love. Where does it come from? Who lit this flame in us? No war can put it out, conquer it. I was a prisoner. You set me free.

Private Edward P. Train

  • voice over Where is it that we were together? Who were you that I lived with? The brother. The friend. Darkness, light. Strife and love. Are they the workings of one mind? The features of the same face? Oh, my soul. Let me be in you now. Look out through my eyes. Look out at the things you made. All things shining.

Dead Japanese Soldier

  • Are you righteous? Kind? Does your confidence lie in this? Are you loved by all? Know that I was, too. Do you imagine your sufferings will be less because you loved goodness? Truth?

Dialogue

Private Witt: Do you ever feel lonely?
First Sgt. Edward Welsh: Only around people.

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