Continuing my haphazard series on existential films, there are a few movies that deserve a special mention. One of the foremost in artistic and philosophical scope is Malick’s The Thin Red Line (TTRL). It might be superficially considered a war film, but it is very distinct in its genre. I am hesitant to even label it a war film for that reason. The closest comparison might be made to Apocalypse Now with its examination of good and evil in each person (a la Heart of Darkness). TTRL strikes a different chord – one of life and death, creation and destruction, friendship and estrangement, loss of innocence and the value of individual people. The wandering style of the movie meant it never received much popularity and it was overshadowed by the much less interesting Saving Private Ryan (ok fans of TTRL are still bitter over that!).
The start references the beauty of nature and also the existence of suffering and death. This motif recurs thorough out the film. The camera often cuts in an action scene from fighting to an injured bird or an interesting plant. This links the moral evil in war with the natural evil in nature (and makes it the same thing, twice named).
[First lines] What’s this war in the heart of nature? Why does nature vie with itself? The land contend with the sea? Is there an avenging power in nature? Not one power, but two?
Aesthetic and moral considerations are shown as independent of life and death, as both are shown to have both ugly and beautiful, good and bad aspects. It reminds me of the beauty of seemingly trivial things and of death, as used in American Beauty. The beauty of death is also central plot point in TTRL, it is first verbally discussed and then directly experienced by a main character.
The value of individuals and organisation of individuals is an important theme in TTRL. The character Witt is shown to be a free spirit but also stating he loves his army company. “They are my people.” His commanding officer, Welsh, is generally a stone cold, pragmatic soldier – and a philosophical collectivist and pessimist. Welsh threatens Witt with punishment for is insubordinate behaviour. But even Welsh has moments of emotion, heroism and intimacy. Through the convoluted plot, these two repeatedly meet and trade a few words from their respective world views. Welsh argues, in a world gone mad, only institutions can make any meaningful difference. Witt’s diametrically opposite view is one man can make a difference, even in war – but personal relationships are also key.
Welsh: In this world, a man, himself – is nothing. And there ain’t no world but this one.
Witt: Your wrong there, Top. I’ve seen another world. Sometimes I think it was just my imagination.
Welsh: Well then you’ve seen things I never will.
Welsh: What difference do you think you can make, one man in all this madness?
Welsh: [looking down on grave] Where’s your spark now?
Welsh: They want you dead… or in their lie.
The film contrasts finding existential meaning with the arbitrariness of war and life. Welsh is a material pessimist, but unlike most other pessimists, he does not believe in an afterlife where justice will be done. This makes evil in the world without meaning, from his perspective. And evil is doubly unfair, as it harms people independently of circumstances, rather than as punishment for previous sins. “Every great pain, whether bodily or mental, states what we deserve; for it could not come to us if we did not deserve it.” Schopenhauer. With good and evil events seemingly having no teleological purpose, the characters are forced to independently find meaning to their actions.
Welsh: There’s not some other world out there where everything’s gonna be okay. There’s just this one, just this rock.
Storm: It makes no difference who you are, no matter how much training you got and the tougher guy you might be. When you’re at the wrong spot at the wrong time, you gonna get it.
TTRL examines themes of loyalty, friendship and love with several relationships being important to character and plot. Welsh, being an anti-individualist, makes this ironic observation:
Witt: Do you ever feel lonely?
Welsh: Only around people.
Witt: Everyone lookin’ for salvation by himself. Each like a coal thrown from the fire.
I have only scratched the surface of this film in this post, but it is worth multiple viewings. I love it and regard it as the greatest existential film (tied with Lost in Translation, at least from among those I have seen).
Anti Citizen One
PS Optical Illusions, seeing isn’t believing…
PPS Another top 10, completely different to my preferences. The Matrix is not really an existential film IMHO (except for about 2 lines, including “the matrix cannot tell you who you are”). And another top 10.
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