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Ronald Bonk
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]
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.
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.
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]
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]
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 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]
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