There is a surprise to come, however: the complete abandonment of the sexual metaphor once the troops are in Vietnam. In 'Full Metal Jacket,' it promises exactly what finally happens and spoils some of the suspense. This was the trademark visual in ' A Clockwork Orange,' and Jack Nicholson practiced it in ' The Shining.' What does it mean? That Kubrick thinks it's an interesting angle from which to shoot the face, I think.

In that showdown, and at several other times in the film, Kubrick indulges his favorite closeup, a shot of a man glowering up at the camera from beneath lowered brows. It is likely that in a real boot camp D'Onofrio would have been thrown out after a week, but Kubrick's story requires him to stay, and so he does, until the final showdown between the two men. In scene after scene, the war/sex connection is reinforced, and it parallels the personal battle between Ermey and D'Onofrio, who at first fails all of the tasks in basic training and then finds he has one skill: He is an expert marksman. All situations in the Marines and in war seem to suggest sexual parallels for him, and one of the film's best moments has the recruits going to bed with their rifles and reciting a poem of love to them. These are the two best performances in the movie, which never recovers after they leave the scene.Įrmey plays a character in the great tradition of movie drill instructors, but with great brio and amazingly creative obscenity. They tell the story of a group of marine grunts undergoing basic training on Paris Island, and the experience comes down to a confrontation between the gunnery sergeant ( Lee Ermey) and a tubby misfit ( Vince D'Onofrio) who is nicknamed Gomer Pyle. The opening passages of 'Full Metal Jacket' promise much more than the film finally is able to deliver. We've been here before, in other war movies, and we keep waiting for Kubrick to spring a surprise, but he never does.

You can only watch so much footage of a man crouched behind a barrier, pinned down by sniper fire, before the situation turns into a cinematic cliche. It does not, especially toward the end of the film. That would not be a problem if his material made the sets irrelevant.

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