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Greek Budget $52 million Box office $98.1 million The Thin Red Line is a 1998 American written and directed. Based on the by, it tells a fictionalized version of the, which was part of the in the of. It portrays soldiers of C Company, 1st Battalion, 27th Infantry Regiment, 25th Infantry Division, played by, and. The film's title comes from the novel, which was named referencing a line from 's poem ', from, in which he calls foot soldiers 'the thin red line of heroes', referring to the in the of the.
The film marked Malick's return to filmmaking after a 20-year absence. It co-stars, and.
Reportedly, the first assembled cut took seven months to edit and ran five hours. By the final cut, footage of performances by, and had been removed (although one of Rourke's scenes was included in the special features outtakes of the Blu-ray and DVD release). The film was scored by, and shot.
Principal photography took place in the state of and in the. The film grossed $98 million against its $52 million budget. Critical response was generally positive, and the film was nominated for seven:, and. It won the at the 1999.
Ranked it as his second-favorite film of the 1990s. On, called it 'the greatest contemporary war film I've seen'.
Of the novel was released in 1964. Contents.
Plot United States Army Witt goes from his and lives among the carefree natives in the. He is found and imprisoned on a by Welsh of his. The men of C Company, 1st Battalion, 27th Infantry Regiment, have been brought to as reinforcements in the campaign to secure and seize the island from the. As they wait in a Navy transport, they contemplate their lives and the invasion.
Commander Tall talks with Quintard about the invasion and its importance. C Company lands on Guadalcanal unopposed and marches to the interior of the island, encountering natives and evidence of the Japanese presence. They arrive near Hill 210, a key Japanese position.
The Japanese have placed at the top of the hill and anyone attempting the climb will be cut down. A brief shelling of the hill begins the next day at dawn. C Company attempts to capture the hill but is repelled by gunfire. Among the first killed is one of the leaders, Whyte. During the battle, a squad led by Sergeant Keck hides behind a knoll safe from enemy fire to wait for reinforcements.
Keck reaches for a grenade but accidentally pulls the pin and is killed by the resultant blast. Lieutenant Colonel Tall orders the, James Staros, to take the bunker by, at whatever cost. Staros refuses and Tall decides to join Staros on the to see the situation. The Japanese resistance seems to have lessened, and Tall's opinion of Staros seems to have been sealed. Private Witt, having been assigned punitively as a stretcher bearer, asks to rejoin the company, and is allowed to do so.
A small detachment of men performs a reconnaissance mission on Tall's orders to determine the strength of the Japanese bunker. Private Bell reports there are five machine guns in the bunker. He joins another small team of men (including Witt), led by Captain John Gaff, on a to take the bunker. The operation is a success and C Company overruns one of the last Japanese strongholds on the island.
The Japanese they find are largely malnourished and dying, and put up little resistance. For their efforts the men are given a week's leave: the airfield where they are based comes under enemy artillery bombardment; Bell receives a letter from his wife informing him that she has fallen in love with someone else and wishes to divorce; Captain Staros is relieved of his command by Lieutenant Colonel Tall, who deems him too soft for the pressures of combat and suggests that he apply for reassignment and become a lawyer in the in Washington.
He offers to arrange a for Staros, to avoid the unit's name being stained by having an officer removed from command. Witt comes across the locals and notices that they have grown distant and distrustful of him and quarrel regularly with one another. The company is sent on patrol up a river but with the inexperienced 1st Lieutenant George Band at its head. As Japanese artillery fire falls close to their positions; Band orders some men to scout upriver, with Witt volunteering to go along. They encounter an advancing Japanese column and are attacked.
To buy time for Corporal Fife to go back and inform the rest of the unit, Witt draws away the Japanese but is then encircled by one of their squads, who demand that he surrender. He raises his rifle and is gunned down. The company is able to retreat safely, and Witt is later buried by Welsh and his squadmates. C Company receives a new commander, Captain Bosche and boards a waiting, departing from the island.
Robert Witt. as 1st Sgt. Edward Welsh. as Capt. James 'Bugger' Staros.
as Pvt. Jack Bell.
as Col. Gordon Tall. as Pfc.
Don Doll. as Capt. John Gaff. as Cpl. Geoffrey Fife. as Sgt. Maynard Storm.
as Sgt. William Keck. as Marty Bell. as 2nd Lt. William Whyte. as Brig. David Quintard.
as Capt. Charles Bosche. as Pfc. Edward Bead. as Pvt. Jason Ash.
as Sgt. Jack McCron. John Dee Smith as Pvt.
Train. as Pvt. Alfredo Tella. as Witt's Mother. as Pvt. Christopher Peale. as Pfc.
Charlie Dale. as Pvt. Howard Coombs. Paul Gleeson as 1st Lt. George 'Brass' Band.
as Sgt. Paul Becker. as Pvt. Leonardo Carni. as Pvt. Brian Tills. as Pvt.
Frank Mazzi Production Screenplay -based producer Bobby Geisler first approached Malick in 1978 and asked him to direct a film adaptation of 's play. Malick declined the offer, but instead discussed the idea of a film about the life of. Once word got out about 's film of, he shelved the idea. In 1988, Geisler and John Roberdeau met with Malick in about writing and directing a movie based on ' 1981 novel. Malick declined, but told them that he would be willing instead to write either an adaptation of 's, or of '. The producers chose the latter and paid Malick $250,000 to write a.
Malick began adapting The Thin Red Line on January 1, 1989. Five months later, the producers received his first draft, which was 300 pages long.
According to an article in, they gained the director's confidence by 'catering to his every whim,' providing him with obscure research material, including a book titled Reptiles and Amphibians of Australia, an audiotape of: Heartbeat Drummers of Japan, information on the recruited by the to communicate in their native to evade understanding by Japanese troops intercepting radio transmissions, making his travel plans, and helping the director and his wife Michele get a for their Paris apartment. The producers spent a lot of time talking with Malick about his vision of the film. Geisler said, 'Malick's Guadalcanal would be a, an, 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 bloody face we see a tree explode, the shredded vegetation, and a gorgeous bird with a broken wing flying out of a tree'. Malick spent years working on other projects, including a stage production of and a script known as The English-Speaker, spending $2 million of the producers' money, half of which for writing.
In 1990, he met with James Jones' widow Gloria and his daughter Kaylie about adapting The Thin Red Line into a film. By January 1995, Geisler and Roberdeau were broke and pressured Malick to decide which one he would complete.
They approached Malick's former agent, 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. Medavoy had a deal with and Malick began scouting locations in and before settling on the rain forests of northern. In April 1997, three months before filming, Sony pulled the plug while crews were building the sets in, because new studio chairman did not think Malick could make his movie with the proposed $52 million budget. Malick traveled to with Medavoy to pitch the project to various studios.
Agreed to put up $39 million of the budget with the stipulation that Malick cast five movie stars from a list of 10 who were interested. Pioneer Films, a Japanese company, contributed $8 million to the budget, and Phoenix added $3 million. Casting Casting for the film became a hot topic. When met Malick, he told him, 'Give me a dollar and tell me where to show up'. Scripts were also sent to, and. Download kamen rider kabuto full episode subtitle indonesia. In 1995, once word went out that Malick was making another movie after many years, numerous actors approached him, flooding the casting directors until they had to announce they wouldn't be accepting more requests. Some A-list actors including, and offered to work for a fraction and some even offered to work for free.
Bruce Willis even went as far as offering to pay for first-class tickets for the casting crew, to get a few lines for the movie. At Medavoy's home in 1995, Malick staged a reading with delivering the screen directions, and, and playing the main roles. In June of that year, a five-day workshop was scheduled at Medavoy's with Pitt dropping by, and culminating with Malick putting on the soundtrack of and playing Japanese taiko drums.
Malick met with an interested about the project at the Book Soup Bistro on the. Flew out to Austin and met Malick, who had been impressed by the actor's screen test for. Reportedly took a day off filming to see Malick. Others followed, including, and; the latter flew up from the Mexico set of to meet Malick at the lounge in the Austin airport. Before the casting was finalized, had lunch with Malick in Hollywood in February 1996.
Malick went off to scout locations and tried calling Cage that summer only to find out that his phone number had been disconnected., however, was offered a more substantial role in and, when he could not contact Malick for several days, decided to do 's film instead. Actors, and Lukas Haas filmed scenes for the movie but were cut from the final film due to time contraints. Publicity stills of Pullman (as Sgt. MacTae, in a scene opposite Brody and Chaplin) can be seen online, Haas is pictured in the booklet of the CD soundtrack, and one of Rourke's scenes was restored for the Criterion Blu-Ray/DVD release of the film., who was cast as Private Witt, credits Malick's casting of him as the turning point in his career. Principal photography Cinematographer began talking to Malick in August 1996 several times over the phone about the film.
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 in February 1997 and started principal photography in June of that year.
Pre-production went slowly. Weeks before filming began, Malick told Geisler and Roberdeau not to show up in Australia where the film was being made, ostensibly because George Stevens Jr.
Would be the on-location producer supporting line producer. 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. Geisler and Roberdeau were mystified about this behavior; Geisler told Entertainment Weekly, 'I didn't think he was capable of betrayal of this magnitude'. Malick and Toll shot for 100 days in Australia using Panavision cameras and lenses, 24 days in the and three days in the United States. They scouted the historic battlefields on Guadalcanal and shot footage, but health concerns over limited filming to daylight hours only.
Logistics were also difficult to shoot the entire film there: As director of photography John Toll put it, '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'. The Thin Red Line was filmed predominantly in the and on, both in north.
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 and roads carved out of the mountain. Transporting 250 actors and 200 crew members up the hill took two hours. Filming took place in the Pacific Ocean off the coast of Southern California near Santa Catalina Island. 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 made a habit of pointing the camera away during an action sequence and focus on a, a tree branch or other fauna.
Malick's reputation and working methods commanded great respect among the actors, with both and staying on for an extra month after they finished all of their scenes just to watch him at work. Post-production In addition to the cast seen in the final cut of the film, and also performed but their scenes were eventually cut. Recorded narration that was scrapped. And participated in readthroughs of the script and are thanked in the end credits. Editor Leslie Jones was on location for five months and rarely saw Malick, who left her to her own devices.
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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. It was at this point that editor came on board, and they spent 13 months in post-production and the last four months mixing the film, using four machines with a fifth added at one point. Malick edited the footage one reel at a time with the sound off while listening to a CD.
There were no preview screenings but several in-house ones, the largest of which was attended by 15 people for marketing executives. 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'.
Four months after principal photography, Malick invited Toll to a rough-cut screening of the film. In December 1998, Toll did the first color correction at the lab prior to the film's release in North America.
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, 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 attended a screening to find that his originally significant role, 'to carry the movie', as he put it, had been reduced to two lines and approximately five minutes of screen time.
On April 15, 2001, an interview with Brody revealed that he was still upset over the removal of his work. He expressed his opinions in an interview with the newspaper: I was so focused and professional, I gave everything to it, and then to not receive everything. In terms of witnessing my own work. It was extremely unpleasant because I'd already begun the press for a film that I wasn't really in. Terry obviously changed the entire concept of the film. I had never experienced anything like that.
You know the expression 'Don't believe the hype'? Well, you shouldn't. 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. 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. After Geisler and Roberdeau told their story to 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. Main article: The film score was composed by, with additional music from.
The album was nominated for Best Dramatic Score at the. It was Hans Zimmer's fifth Oscar nomination as a composer, but he lost out to 's (music by ). The album was released by and conducted. Among the music not written by Zimmer which appears in the film is In Paradisum from by and the opening minutes of.
Zimmer wrote several hours of music, and an abundance of different themes, before Malick started to shoot the film. The director 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, only one of which is featured on the soundtrack.
However, another soundtrack was released containing several tracks from the Choir, which has since gone out of circulation. Release and reception 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.
The film earned $98,126,565 at the worldwide box office. Critical reception On website, the film holds an approval rating of 79%, based on 92 reviews, and an of 7.2/10. The website's critical consensus reads, ' The Thin Red Line is a daringly philosophical World War II film with an enormous cast of eager stars.' On, the film has a weighted average score of 78 out of 100, based on 32 critics, indicating 'generally favorable reviews'. Described it as the 'finest contemporary war film I've seen, supplanting Steven Spielberg's from earlier this year, or even 's from 1986.' A more subdued gave it three stars, saying that it felt confused and unfinished.
He wrote, 'The movie's schizophrenia keeps it from greatness (this film has no firm idea of what it is about), but doesn't make it bad. It is, in fact, sort of 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'.
In his review for, 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 '. Mike Clark of gave the film four out of four stars. Writing in the, 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'. Of wrote: 'Like Malick's previous efforts - Badlands (1973) and Days of Heaven (1978) - Line is a film of incredible beauty.
However, the atmosphere created by John Toll's breathtaking cinematography and Hans Zimmer's powerful score is occasionally compromised. The parade of cameos (John Travolta, George Clooney, Woody Harrelson and John Cusack briefly appear) is somewhat distracting, and the fact that Bell and Witt both have Appalachian accents sometimes makes the characters hard to differentiate. Yet, even though it's confusing at times (and perhaps a little long), Line is still a film of rare substance and power.'
Gave the film a 'B-' in his review for and wrote, ' The Thin Red Line could, I think, turn out to be this season's, a movie too paralyzingly high-minded to connect with audiences'. In her review for, wrote, 'The heart-piercing moments that punctuate its rambling are glimpses of what a tighter film might have been'. In a special episode of, guest host selected The Thin Red Line as the second best film of the 1990s behind.
Awards The Thin Red Line was nominated for 7 for, and. It failed to win any of these awards.
However, the film was awarded the for Best Film at the in 1999. The Thin Red Line was named Best Cinematography for 1998 by the in 1998. Magazine ranked Malick's film #6 on their Best of 1998 Cinema list., film critic for the, ranked Malick's film as his second favorite film of 1999. January 29, 1999.
Retrieved October 11, 2016. Box Office Mojo. Retrieved 2011-01-05. Retrieved 2001-08-04.
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'Days of Hell'. ^ Abramowitz, Rachel (March 1999). 'Straight Out the Jungle'. ^ Puig, Claudia (January 7, 1999). 'The Magic of Malick'. ^ Docherty, Cameron (June 7, 1998).
'Maverick Back from the Badlands'. Sunday Times. Retrieved May 22, 2011. Atkinson, Michael (November 2001). Archived from on 2006-06-13. Retrieved 2007-05-11. ^ Bourton, Tom (May 2000).
Home Cinema Choice. Archived from on September 28, 2007. Retrieved 2007-11-27.
Pizzello, Stephen (February 1999). Retrieved 2008-01-07. Handy, Bruce; Port Douglas (October 13, 1997).
Retrieved 2008-11-11. ^ Torgerson, Liv (May–June 1999). Motion Picture Editors Guild Newsletter. Archived from on August 29, 2008. Retrieved 2007-11-27. Winter, Jessica.
Retrieved 25 March 2016. Mottram, James (April 21, 2001). 'The Prime of Mr. Adrien Brody'. Retrieved 2011-01-05. Portman, Jamie (January 2, 1999).
'Elusive Director Surfaces with Thin Red Line'. Scorereviews.com (2010-11-23). Retrieved 2011-01-05. Retrieved 2011-01-05.
Box Office Mojo. October 19, 2007. Retrieved 2007-10-19. Retrieved April 10, 2018. Retrieved April 10, 2018. Siskel, Gene. 'The Thin Red Line'.
Ebert, Roger (January 8, 1999). Retrieved 2007-10-19. Corliss, Richard (December 28, 1998). Retrieved 2007-11-11. Clark, Mike (December 23, 1998).
'Stirring Red Line Captures War's Humanity and Horror'. O'Sullivan, Michael (January 8, 1999). ' Red Line: Above and Beyond'. Time Out New York, December 17–31, 1998, p. Gleiberman, Owen (December 23, 1998).
Retrieved 2007-11-27. Maslin, Janet (December 23, 1998). Retrieved 2008-01-07.
Ebert, Roger (February 23, 2000). Ebert, Roger (February 26, 2000). Archived from on November 28, 2007. Retrieved 2008-01-10.
Retrieved 2008-01-07. Carr, Jay (January 4, 1999). 'National Film Critics Tap Out of Sight'. December 21, 1998. Retrieved 2008-11-11.
Rosenbaum, Jonathan (2000). Retrieved 2007-11-27.
Movies.yahoo.com (1974-11-27). Windows live cd iso download. Retrieved 2011-01-05.
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Red Line Full Movie In Hindi Free Download
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Humanick, Rob (September 28, 2010). Slant Magazine. Retrieved 2015-11-07.
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September 28, 2010. Retrieved 2015-11-08. Further reading. Schaffer, Bill (July 2000). Senses of Cinema (8). (December 2002).
Film Philosophy. Retrieved 2015-11-08. The Thin Red Line (BFI Film Classics). Trista Selous (translator). British Film Institute. Monograph translated from French.
Free Movies Download Full Hindi
Davies, David, ed. Philosophers on Film. An introduction and five essays by philosophers Davies, Simon Critchley, and Camilo Salazar Prince, Amy Coplan, and Iain MacDonald. Baldo, Francesco (July 2012).
Senses of Cinema (63). (June 4, 2013). Retrieved 2015-11-08. Audio recording of a sermon by the Rev'd Canon Nigel Biggar (Religious Professor of Moral and Pastoral Theology, Oxford University). External links Wikiquote has quotations related to:. Archived from the original on 2009-02-28. Retrieved 2006-01-31.
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Okay so I went into this movie not really expecting much I figured an action flick similar to The Fast and the Furious. Some nice cars some nice girls somewhat of a decent plot. Unfortunately I would have to say that this was probably the worst movie I have seen this year.
Don’t get me wrong the cars were nice and the girls were OK but the way they put the movie together was just plain crappy to put it nicely. The story just never made you care about the cast and the movie seemed just pieced together. So overall this movie was not the worst thing ever by far but if your looking for a movie to go to this weekend I would pass on this one for now.
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