A | B | C | D | E | F | G | H | CH | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z | 0 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9
| Full Metal Jacket | |
|---|---|
 Theatrical release poster | |
| Directed by | Stanley Kubrick |
| Screenplay by |
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| Based on | The Short-Timers by Gustav Hasford |
| Produced by | Stanley Kubrick |
| Starring | |
| Cinematography | Douglas Milsome |
| Edited by | Martin Hunter |
| Music by | Abigail Mead |
Production companies |
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| Distributed by |
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Release dates |
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Running time | 116 minutes[1] |
| Countries |
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| Language | English |
| Budget | $16.5–30 million[3][4] |
| Box office | $120 million[5] |
Full Metal Jacket is a 1987 war drama film directed and produced by Stanley Kubrick, who also cowrote the screenplay with Michael Herr and Gustav Hasford. The film is based on Hasford's 1979 novel The Short-Timers and stars Matthew Modine, R. Lee Ermey, Vincent D'Onofrio and Adam Baldwin.
The storyline follows a platoon of U.S. Marines through their boot camp training at Marine Corps Recruit Depot Parris Island, South Carolina. The first half of the film focuses primarily on privates J.T. Davis and Leonard Lawrence, nicknamed "Joker" and "Pyle," who struggle under their abusive drill instructor, Gunnery Sergeant Hartman. The second half portrays the experiences of Joker and other Marines in the Vietnamese cities of Da Nang and Huế during the Tet Offensive of the Vietnam War.[6] The film's title refers to the full metal jacket bullet used by military servicemen.
Warner Bros. released Full Metal Jacket in the United States on June 26, 1987. It was the last of Kubrick's films to be released during his lifetime. The film received critical acclaim, grossed $120 million against a budget of $16 million and was nominated for an Academy Award for Best Adapted Screenplay for Kubrick, Herr and Hasford.[7] In 2001, the American Film Institute placed the film at number 95 in its poll titled "AFI's 100 Years...100 Thrills."[8]
Plot
During the Vietnam War, a group of USMC recruits arrive for United States Marine Corps Recruit Training at Parris Island. Drill instructor Gunnery Sergeant Hartman uses harsh methods to train them for combat. Among the recruits is the overweight and dim-witted Leonard Lawrence, whom Hartman nicknames "Gomer Pyle," and the wisecracking J. T. Davis, who receives the name "Joker" after interrupting Hartman's introductory speech with an impression of John Wayne.
During boot camp, Hartman names Joker as squad leader and puts him in charge of helping Pyle improve. One evening while doing a hygiene inspection, Hartman notices that Pyle's footlocker is unlocked. As he inspects it for signs of theft, he discovers a jelly donut inside, blames the platoon for Pyle's infractions and adopts a collective punishment policy by which any infraction committed by Pyle will earn a punishment for everyone else in the platoon. The next night, the recruits haze Pyle with a blanket party in which Joker reluctantly participates. Following this, Pyle appears to reinvent himself as a model recruit, showing particular expertise in marksmanship. This pleases Hartman but worries Joker, who believes Pyle may be suffering a mental breakdown after seeing Pyle talking to his rifle. The recruits graduate, but the night before they leave Parris Island, Joker, who is on fire watch duty, discovers Pyle in the barracks latrine loading his service rifle with live ammunition, executing drill commands, and loudly reciting the Rifleman's Creed. Hartman is awoken by the commotion and attempts to intervene, but Pyle shoots and kills him before committing suicide, leaving Joker horrified.
By January 1968, Joker is a sergeant and is based in Da Nang for the newspaper Stars and Stripes alongside his colleague Private First Class “Rafterman”, a combat photographer. The Tet Offensive begins and the base is attacked, but holds. The following morning, Joker and Rafterman are sent to Phu Bai, where Joker searches for and reunites with Sergeant "Cowboy," a friend he met at Parris Island. However, platoon leader lieutenant Walter J. "Touchdown" Schinoski is killed by two NVA snipers, who are eliminated soon after. During the Battle of Huế, a booby trap kills the squad leader, Sgt. Crazy Earl, leaving Cowboy in command. Becoming lost in the city, the squad is ambushed by a Viet Cong sniper who kills two members. As the squad approaches the sniper's location, Cowboy is killed.
Assuming command, squad machine gunner "Animal Mother" leads an attack on the sniper. Joker locates her first, but his M16 rifle jams, alerting the sniper to his presence. As the sniper opens fire, she is revealed to be a teenage girl. Rafterman shoots and mortally wounds her. As the squad converges on the sniper, she begs for death, leading to an argument over whether to kill her or leave her to die in pain. Animal Mother agrees to a mercy killing but only if Joker will handle it, and after some hesitation, Joker shoots her. Later, as night falls, the Marines return to camp singing the "Mickey Mouse March." A narration of Joker's thoughts conveys that, despite being "in a world of shit," he is glad to be alive and no longer afraid.
Cast
- Matthew Modine as Private/Sergeant J. T. "Joker" Davis, a wisecracking young Marine. On set, Modine kept a diary that in 2005 was adapted into a book and in 2013 into an interactive app.[9]
- Adam Baldwin as Sergeant "Animal Mother," a combat-hungry machine gunner who takes pride in killing enemy soldiers, and scorns any authority other than his own. Arnold Schwarzenegger was first considered for the role but turned it down in favor of a part in The Running Man.[10]
- Vincent D'Onofrio as Private Leonard "Gomer Pyle"[a] Lawrence, an overweight, slow-minded recruit who is the subject of Hartman's mockery. D'Onofrio heard from Modine of the auditions for the film. D'Onofrio recorded his audition using a rented video camera and was dressed in army fatigues. According to Kubrick, Pyle was "the hardest part to cast in the whole movie"; Modine suggested D'Onofrio to Kubrick, so he cast him in the part.[12][13] D'Onofrio was required to gain 70 pounds (32 kg).[14][15]
- Lee Ermey as Gunnery Sergeant Hartman, a harsh, foul-mouthed and ruthless senior drill instructor. Ermey used his actual experience as a U.S. Marines drill instructor in the Vietnam War to improvise much of his dialogue.[16][17]
- Dorian Harewood as Corporal "Eightball," a member of the squad and Animal Mother's friend.
- Arliss Howard as Private/Sergeant "Cowboy" Evans, a friend of Joker and a member of the Lusthog Squad.
- Kevyn Major Howard as Private First Class "Rafterman," a combat photographer.
- Ed O'Ross as First Lieutenant Walter J. "Touchdown" Schinoski, the Lusthog Squad's platoon leader.
- John Terry as First Lieutenant Lockhart, the editor of Stars and Stripes.
- Kieron Jecchinis (credited as Keiron Jecchinis) as Sergeant "Crazy Earl," the first Lusthog Squad leader.
- Bruce Boa as a colonel who harasses Joker for wearing a peace symbol on his lapel.
- Kirk Taylor as "Payback"
- John Stafford as "Doc Jay," a Navy hospital corpsman providing medical support for the squad.
- Tim Colceri as Doorgunner, a ruthless and sadistic helicopter door gunner who suggests that Joker and Rafterman write a story about him. Colceri, a former Marine, was originally slated to play Hartman, a role that went to Ermey. Kubrick gave Colceri this smaller part as a consolation.[18]
- Ian Tyler as Lieutenant Cleves, an officer present at the uncovering of a mass grave.
- Gary Landon Mills as Donlon, a squad member who works as a radio operator.
- Sal Lopez as "T.H.E. Rock"
- Papillon Soo Soo as a Da Nang prostitute
- Ngoc Le as the Viet Cong sniper
- Peter Edmund as Private "Snowball" Brown, a recruit in Hartman's platoon.
Production
Development
In early 1980, Kubrick contacted Michael Herr, author of the Vietnam War memoir Dispatches (1977), to discuss work on a film about the Holocaust but Kubrick discarded that idea in favor of a film about the Vietnam War.[19] Herr and Kubrick met in England; Kubrick told Herr he wanted to make a war film but had yet to find a story to adapt.[12] Kubrick discovered Gustav Hasford's novel The Short-Timers (1979) while reading the Kirkus Review.[20] Herr received the novel in bound galleys and thought it a masterpiece.[12] In 1982, Kubrick read the novel twice; he concluded it is "a unique, absolutely wonderful book" and decided to adapt it for his next film.[20] According to Kubrick, he was drawn to the book's dialogue, which he found "almost poetic in its carved-out, stark quality."[20] In 1983, Kubrick began researching for the film; he watched archival footage and documentaries, read Vietnamese newspapers on microfilm from the Library of Congress, and studied hundreds of photographs from the era.[21] Initially, Herr was not interested in revisiting his Vietnam War experiences, but Kubrick spent three years persuading him, describing the discussions as "a single phone call lasting three years, with interruptions."[19]
In 1985, Kubrick contacted Hasford and invited him to join the team;[12] they spoke by telephone three to four times a week for hours at a time.[22] Kubrick had already written a detailed treatment of the novel,[12] and they met at Kubrick's home every day, breaking the treatment into scenes. Herr then wrote the first draft of the film script.[12] Kubrick worried the audience might misread the book's title as a reference to people who did only half a day's work and changed it to Full Metal Jacket after coming across the phrase in a gun catalogue.[12] After the first draft was complete, Kubrick telephoned his orders to Hasford and Herr, who mailed their submissions to him.[23] Kubrick read and edited Hasford's and Herr's submissions, and the team repeated the process. Neither Hasford nor Herr knew how much each had contributed to the screenplay, which led to a dispute over the final credits.[23] Hasford said: "We were like guys on an assembly line in the car factory. I was putting on one widget and Michael was putting on another widget and Stanley was the only one who knew that this was going to end up being a car."[23] Herr said Kubrick was not interested in making an anti-war film but "he wanted to show what war is like".[19]
At some point, Kubrick wanted to meet Hasford in person, but Herr advised against this, describing The Short-Timers author as a "scary man, a big, haunted marine," and did not believe Hasford and Kubrick would "get on".[19] Kubrick, however, insisted on the meeting, which occurred at Kubrick's house in England. The meeting went poorly; Kubrick privately told Herr: "I can't deal with this man," and Hasford did not meet with Kubrick again.[19]
Casting
Through Warner Bros., Kubrick advertised a casting search in the United States and Canada. He used videotape to audition actors and received over 3,000 submissions. Kubrick's staff screened the tapes, leaving 800 of them for him to review.[12]: 461
Former U.S. Marines drill instructor Lee Ermey was originally hired as a technical advisor. Ermey asked Kubrick if he could audition for the role of Hartman. Kubrick, who had seen Ermey's portrayal of drill instructor Staff Sergeant Loyce in The Boys in Company C (1978), told Ermey that he was not vicious enough to play the character. Ermey improvised insulting dialogue against a group of Royal Marines who were being considered for the part of background Marines in order to demonstrate his ability to play the character and to show how a drill instructor attacks individuality in new recruits.[12]: 462 Upon viewing the videotape of these sessions, Kubrick offered Ermey the role, realizing he "was a genius for this part."[21] Kubrick incorporated the 250-page transcript of Ermey's rants into the script.[12]: 462–463 Ermey's experience as a drill instructor during the Vietnam War proved invaluable; Kubrick estimated that Ermey wrote 50% of his character's dialogue, particularly the insults.[24]
While Ermey practiced his lines in a rehearsal room, Kubrick's assistant Leon Vitali would throw tennis balls and oranges at him, which Ermey had to catch and throw back as quickly as possible while saying his lines as fast as he could. Any hesitation, slowdown, slip or missed line would necessitate restarting, and 20 error-free runs were required. " was my drill instructor," Ermey said of Vitali.[12]: 463 [25]
Eight months of negotiations to cast Anthony Michael Hall as Private Joker were unsuccessful.[26][27] Val Kilmer was also considered for the role, and Bruce Willis declined a role because of commitments to his television series Moonlighting.[28] Kubrick offered Ed Harris the role of Hartman but Harris declined it, a decision that he later called "foolish".[29] Robert De Niro was also considered for the role, although Kubrick eventually felt that the audience would "feel cheated" if De Niro's character were killed in the first hour.[30] Bill McKinney was also considered for the part, but Kubrick professed an irrational fear of the actor. McKinney was known for his role as a rural psychopath in 1972's Deliverance, most memorably in a sequence that Kubrick described as "the most terrifying scene ever put on film". McKinney was about to fly from Los Angeles to London to audition for Kubrick and the producers when he received a message at the airport informing him that his audition had been canceled. However, McKinney was paid in full.[31] Denzel Washington showed interest in the film but Kubrick did not send him a script.[32][33]
Filming
Principal photography began on August 27, 1985 and concluded on August 8, 1986.[34][35] Scenes were filmed in Cambridgeshire, the Norfolk Broads, in eastern London at Millennium Mills and Beckton Gas Works in Newham and on the Isle of Dogs.[36] Kubrick hired Anton Furst as the production designer, impressed by his work on The Company of Wolves (1984).[37] Bassingbourn Barracks, a former Royal Air Force station and then a British Army base, was used as the Parris Island Marines boot camp.[21] A British army rifle range near Barton, Cambridge was used for the scene in which Hartman congratulates Private Pyle for his shooting skills. Kubrick and Furst worked from still photographs of Huế taken in 1968. Kubrick found an area owned by British Gas that closely resembled it and was scheduled to be demolished. The disused Beckton Gas Works, a few miles from central London, was filmed to depict Huế after attacks.[24][38][39] Kubrick had buildings demolished and the film's art director used a wrecking ball to knock holes in some of the buildings over the course of two months.[24] Kubrick had a plastic replica jungle delivered from California, but once he saw it, he dismissed the idea, saying; "I don't like it. Get rid of it."[40] The open country scenes were filmed at marshland in Cliffe-at-Hoo[41] and along the River Thames. Locations were decorated with 200 imported Spanish palm trees[20] and 100,000 plastic tropical plants from Hong Kong.[24]
Kubrick acquired four M41 tanks from a Belgian army colonel who was an admirer of his work.[42] Westland Wessex helicopters, which have a much longer and less-rounded nose than that of the Vietnam era H-34, were painted Marines green to represent Sikorsky H-34 Choctaw helicopters. Kubrick obtained a selection of rifles, M79 grenade launchers and M60 machine guns from a licensed weapons dealer.[21]
Modine described the filming as difficult. Beckton Gas Works was a toxic environment for the film crew, being contaminated with asbestos and hundreds of other chemicals.[43] During the boot camp sequence of the film, Modine and the other recruits underwent Marine Corps training, during which Ermey yelled at them for 10 hours a day while filming the Parris Island scenes. To ensure that the actors' reactions to Ermey's lines were as authentic and fresh as possible, Ermey and the recruits did not rehearse together.[12]: 468 For film continuity, each recruit had his head shaved once a week.[44]
Modine fought with Kubrick about whether he could leave the set to be with his pregnant wife in the delivery room. Modine threatened to cut himself and get sent to the hospital himself to force Kubrick to relent.[45] He also nearly fought with D'Onofrio during filming the boot camp scenes after he taunted D'Onofrio while laughing with the film's extras between takes.[46]
During filming, Ermey was injured in a car crash and broke several ribs, leaving him unavailable for four and a half months.[24][47]
During Cowboy's death scene, a building that resembles the alien monolith in Kubrick's 2001: A Space Odyssey (1968) is visible. Kubrick described this as an "extraordinary accident."[24]
During filming, Hasford contemplated legal action over the writing credits. Originally, the filmmakers intended Hasford to receive an "additional dialogue" credit, but he fought for and eventually received full credit.[23] Hasford and two friends visited the set dressed as extras but was mistaken by a crew member for Herr. Hasford identified himself as the writer of the source material.[22]
Kubrick's daughter Vivian, who appears uncredited as a news camera operator, shadowed the filming of Full Metal Jacket. She filmed 18 hours of behind-the-scenes footage for a potential "making-of" documentary that went unmade. Sections of her work can be seen in the documentary Stanley Kubrick's Boxes (2008).[48]
Themes
Michael Pursell's essay "Full Metal Jacket: The Unravelling of Patriarchy" (1988) was an early, in-depth consideration of the film's two-part structure and its criticism of masculinity. Pursell wrote that the film shows "war and pornography as facets of the same system."[49]
Many reviewers praised the military brainwashing themes in the boot-camp portion of the film while viewing the film's second half as more confusing and disjointed. Rita Kempley of The Washington Post wrote, "it's as if they borrowed bits of every war movie to make this eclectic finale."[50] Roger Ebert saw the film as an attempt to tell a story of individual characters and the war's effects on them. According to Ebert, the result is a shapeless film that feels "more like a book of short stories than a novel."[51] Julian Rice, in his book Kubrick's Hope (2008), saw the second part of the film as a continuation of Joker's psychic journey in his attempt to understand human evil.[52]
Tony Lucia, in his 1987 review of Full Metal Jacket for the Reading Eagle, examined the themes of Kubrick's career, suggesting "the unifying element may be the ordinary man dwarfed by situations too vast and imposing to handle." Lucia refers to the "military mentality" in this film and also said the theme covers "a man testing himself against his own limitations," and concluded: "Full Metal Jacket is the latest chapter in an ongoing movie which is not merely a comment on our time or a time past, but on something that reaches beyond."[53]
British critic Gilbert Adair wrote, "Kubrick's approach to language has always been reductive and uncompromisingly deterministic in nature. He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all the whims, shades and modulations of personal expression."[54]
Michael Herr wrote of his work on the screenplay, "The substance was single-minded, the old and always serious problem of how you put into a film or a book the living, behaving presence of what Jung called the shadow, the most accessible of archetypes, and the easiest to experience ... War is the ultimate field of Shadow-activity, where all of its other activities lead you. As they expressed it in Vietnam, 'Yea, though I walk through the Valley of the Shadow of Death, I will fear no Evil, for I am the Evil'."[55]
Music
Kubrick's daughter Vivian, under the alias Abigail Mead, wrote the film's score. According to an interview in the January 1988 issue of Keyboard, the film was scored mostly with a Series III edition Fairlight CMI synthesizer and a Synclavier. For the period music, Kubrick reviewed Billboard's list of the top 100 hits for each year from 1962 to 1968, considering many songs but finding that "sometimes the dynamic range of the music was too great, and we couldn't work in dialogue."[24]
A single titled "Full Metal Jacket (I Wanna Be Your Drill Instructor)," credited to Mead and Nigel Goulding, was released to promote the film and incorporates Ermey's drill cadences from the film. The single reached #1 in Ireland, #2 in the UK,[56] #4 in both the Netherlands and the Flanders region of Belgium, #8 in West Germany, #11 in Sweden and #29 in New Zealand.
Release
Box office
Full Metal Jacket received a limited release on June 26, 1987, in 215 theaters.[4] During its opening weekend, it accrued $2.2 million, an average of $10,313 per theater, ranking it the number 10 film for the weekend June 26–28.[4] It took a further $2 million for a total of $5.7 million before being widely released in 881 theaters on July 10, 1987.[4] The weekend of July 10–12 saw the film gross $6.1 million, an average of $6,901 per theater, and rank as the second-highest-grossing film. Over the next four weeks the film opened in a further 194 theaters to its widest release of 1,075 theaters; it closed two weeks later with a total gross of $46.4 million, making it the twenty-third-highest-grossing film of 1987.[4][57] As of 1998[update], the film had grossed $120 million worldwide.[5]
Home media
The home media release history of Full Metal Jacket is summarized in the following table. Minor cuts to the 1h 57m theatrical version were made to comply with the censor boards overseeing the various territories in which the film was released. For technical reasons the PAL mastering standard speeds up playback by around 4% compared with NTSC, leading to slightly shorter runtimes (around 1h 52m) in releases mastered for territories other than the US and Japan.[58]
| Territory | Title | Released | Publisher | Aspect Ratio | Cut | Runtime | Commentaries | Mix | Resolution | Master | Medium |
|---|---|---|---|---|---|---|---|---|---|---|---|
| USA | #3000082901[59] | September 22, 2020[60] | Warner Home Video | 1.78:1 | Theatrical | 1h 56m | none | 5.1, mono (192 kbps) | 2160p | 4K | Blu-ray |
| #3000082360[61] | September 22, 2020[62] | 5.1 | |||||||||
| #3000083363[63] | September 22, 2020[64] | 1080p | |||||||||
| UK | September 22, 2020[65] | 2160p | |||||||||
| USA | #118627 | May 7, 2013[66] | 1.85:1[67] | 1080p | 2K | ||||||
| October 16, 2012 | 1.78:1 | 480i | DVD | ||||||||
| #201341 | October 16, 2012[68] | 1.78:1[69] | 1080p | Blu-ray | |||||||
| #400002309 | August 7, 2012[70] | 1.78:1 | 1h 57m[71] | ||||||||
| #5000099235[72] | May 23, 2011[73] | 1h 52m | |||||||||
| #80931 | October 28, 2007 | 1.78:1[74] | HD-DVD | ||||||||
| #118627 | October 23, 2007[75] | 1.78:1[76] | 1h 56m[77] | Blu-ray | |||||||
| #116116 | 2007 | 1.85:1[78] | 1h 57m | 480i | DVD | ||||||
| UK | #Z1 80931[79] | 1.78:1 | 1080p | HD-DVD | |||||||
| #Z1 Y18626[80] | 2007 | ||||||||||
| Germany | #Z1 Y18626[81] | 1h 57m | |||||||||
| USA | #116311 | May 15, 2007[82] | 1.33:1[83] | 1h 56m | 480i | DVD | |||||
| Sweden | #Z11 80931[84] | 1.78:1 | 1080p | HD-DVD | |||||||
| #Z11 Y18626[85] | 1h 57m | ||||||||||
| Norway | #Z12 Y18626[86] | 1h 57m | |||||||||
| Germany | #Z5 80931[87] | 1h 56m | |||||||||
| France | #Z7 80931 | 2006 | |||||||||
| USA | September 5, 2006[88] | 1.77:1[89] | 1h 57m[90] | 1080p[91] | Blu-ray | ||||||
| Japan | #WBHA-80931[92] | November 3, 2006 | 1.78:1 | 1h 57m | 1080p | HD-DVD | |||||
| USA | #11826[93] | May 16, 2006 | |||||||||
| November 6, 2001[94] | 1.33:1[95] | 480i | DVD | ||||||||
| June 12, 2001[96] | 1.85:1[97] | ||||||||||
| #21154 | 2001 | 1.33:1 | 1h 56m | mono | 240 lines | NTSC | VHS | ||||
| June 29, 2001[98] | mono[99] | 480i | DVD | ||||||||
| France | #1176013[100] | 1995 | mono | 425 lines | PAL | LaserDisc | |||||
| UK | #PES 11760 | 1993 | 240 lines | NTSC | VHS | ||||||
| USA | #11760[101] | 1991 | 1h 57m | 425 lines | LaserDisc | ||||||
| Finland | #WES 11760 | 1991 | Fazer Musiikki | 1h 52m | 576 lines | PAL | VHS | ||||
| USA | #11760 | 1990 | Warner Home Video | 1h 57m | 425 lines | NTSC | LaserDisc | ||||
| Japan | #NJL-11760 | July 25, 1989[102] | |||||||||
| #VHP47012 | 1989[103] | 1h 56m | 320 lines | VHD | |||||||
| USA | #11760 | 1988 | 240 lines | VHS | |||||||
| Japan | #NJV 11660 | 1987 | |||||||||
| Australia | #PEV 11760 | 1987 | 1h 55m | 576 lines | PAL | ||||||
| USA | 1987 | 240 lines | Zdroj:https://en.wikipedia.org?pojem=Full_Metal_Jacket