The whole soundtrack to The Thin Red Line is amazing, especially 'Light':

https://www.youtube.com/watch?v=sAP6FGwHnSs

You know, and it gets into this whole issue of border security
You know, who's gonna say that the borders are secure?
We've got the House and the Senate debating this issue
And it's, it's really astonishing that in a country founded by immigrants
"Immigrant" has somehow become a bad word
So the debate rages on and we continue
And just like that it's over, we tend to our wounded, we count our dead
Black and white soldiers wonder alike if this really means freedom
Not yet
I got one job, two job, three when I need them
I got five roommates in this one studio, but I never really see them
And we all came America trying to get a lap dance from Lady Freedom
But now Lady Liberty is acting like Hilary Banks with a pre-nup
Man, I was brave, sailing on graves
Don't think I didn't notice those tombstones disguised as waves
I'm no dummy, here is something funny, you can be an immigrant without risking your lives
Or crossing these borders with thrifty supplies
All you got to do is see the world with new eyes
Immigrants, we get the job done
Look how far I come
Look how far I come
Look how far I come
We get the job done
Look how far I come
Look how far I come
Look how far I come
Immigrants, we get the job done
It's a hard line when you're an import
Baby boy, it's hard times
When you ain't sent for
Racists feed the belly of the beast
With they pitchforks, rich chores
Done by the people that get ignored
Ya se armó
Ya se despertaron
It's a whole awakening
La alarma ya sonó hace rato
Los que quieren buscan
Pero nos apodan como vagos
We are the same ones
Hustling on every level
Ten los datos
Walk a mile in our shoes
Abróchense los zapatos
I been scoping ya dudes, ya'll ain't been working like I do
I'll outwork you, it hurts you
You claim I'm stealing jobs though
Peter Piper claimed he picked them, he just underpaid Pablo
But there ain't a paper trail when you living in the shadows
We're America's ghost writers, the credit's only borrowed
It's a matter of time before the checks all come
But
Immigrants, we get the job done
Look how far I come
Look how far I come
Look how far I come
We get the job done
Look how far I come
Look how far I come
Look how far I come
Immigrants, we get the job
Not yet
The credit is only borrowed
It's America's ghost writers, the credit's only borrowed
It's America's ghost writers
America's ghost writers
America's ghost writers, the credit's only borrow-borrowed
It's America's ghost writers, a credit is only borrowed
It's America's ghost writers, a credit is only borrowed
It's America's ghost writers, a credit is only borrowed
It's
Immigrants, we get the job done
Ay yo aye, immigrants we don't like that
Na they don't play British empire strikes back
They beating us like 808's and high hats
At our own game of invasion, but this ain't Iraq
Who these fugees what did they do for me
But contribute new dreams
Taxes and tools, swagger and food to eat
Cool, they flee war zones, but the problem ain't ours
Even if our bombs landed on them like the Mayflower
Buckingham Palace or Capitol Hill
Blood of my ancestors had that all built
It's the ink you print on your dollar bill, oil you spill
Thin red lines on the flag you hoist when you kill
But still we just say "look how far I come"
Hindustan, Pakistan, to London
To a galaxy far from their ignorance
'Cause
Immigrants, we get the job done
Por tierra o por agua
Identidad falsa
Brincamos muros o flotamos en balsas
La peleamos como Sandino en Nicaragua
Somos como las plantas que crecen sin agua
Sin pasaporte americano
Porque la mitad de gringolandia es terreno mexicano
Hay que ser bien hijo de puta
Nosotros les sembramos el árbol y ellos se comen la frutas
Somos los que cruzaron
Aquí vinimos a buscar el oro que nos robaron
Tenemos mas trucos que la policía secreta
Metimos la casa completa en una maleta
Con un pico, una pala
Y un rastrillo
Te construimos un castillo
Como es que dice el coro cabrón?
Immigrants, we get the job done
Look how far I come
Look how far I come
Look how far I come
We get the job done
Look how far I come
Look how far I come
Look how far I come
Immigrants, we get the job done
Look how far I come
Look how far I come
Look how far I come
Immigrants, we get the job done
Not yet

Yet Zimmer also composed the music to The Thin Red Line, which is some of the most beautiful music ever created:

"Air" from The Thin Red Line:

http://tinyurl.com/h7vd5ao

oh and I was not defending him, but sifting is sifting and I thought you were being a weiner about his sifting, not his failing as a sifter in general. I post things people do not like, he posts things of that nature, you might, I dunno..

everyone fuck off, I am going to bake crab legs and boil crab legs and see which is better, also I have rice made and some mashed potatoes. I dunno wtf goes with crab legs.... I know butter does, and butter goes with rice and potatoes so score for me on all 3 counts.

Thin red line is a fucked up movie.

HEY Shinyblurry - god does not talk to you, that voice is called intuition and conscience. that light you saw might be a brain tumor, you ever see the documentary called " Phenomenon" it had a guy named John Travolta in it .

Wow, can we stop with the Sunshine OST already?

And some http://www.youtube.com/watch?v=HOFZSnz9J3s Thin Red Line in there as well.

>> ^LeadingZero:

Ant:
The music during the death scene is from Hans Zimmer's soundtrack to The Thin Red Line. Specifically, it's the third track, Journey To The Line.


intro is Millers Crossing..

^Right composer, wrong score. The first track is from Hans Zimmer's score for 'The Thin Red Line'. The second (vi IV I iii/vii) is from John Murphy's score for 'Sunshine'.

SPOILER ALERT

Seriously, do not read further if you don't want the movie spoiled. You've been warned.

Here are my thoughts to kick this off. Today I'm a different audience goer than I was when I was first introduced to Malick's films. I remember seeing Thin Red Line in the theaters and thinking, yeah it's good but I like Saving Private Ryan more. Mainly because TRL didn't have much of a traditional 3 Act plot. Back then I also hated pretentious movies. Today I still dislike them, but not as much. I do dislike them when I feel the filmmaker is trying to outsmart me, or worse purposely trying to confuse me hoping I'll think the film is smart if I don't understand it.

This isn't the case with Malick. His films always seem genuine. As for Tree of Life, the critiques have been incredibly harsh and the one word used to describe it over and over is pretentious. In Cannes, where he won the Palme d'Or, the film was apparently met with both boos and cheers. Some have even eviscerated it for being preachy and overtly Christian. The title itself is a reference to the tree in the Garden of Eden found in both Genesis and Revelations.

I think we've become too cynical towards Christianity and religion in general. It's easy to politicize it and dismiss a very important mythology that can stand opposite of science. His reference to the tree of life, in my opinion, is a reference to creation and destruction. To beginning and ending. It's a metaphor for individual life as it is blinked into existence and then blinked right back out again. A transcendental metaphor that's smartly weaved in Malick's film. And it's not meant to preach the gospel of the bible, but to educate us on the mythology surrounding life and death.

He starts with a quote from Job that's essentially the part after god has tested Job and taken everything from him, and he speaks to Job directly after Job questions him, and god says (paraphrasing here) where were you when I created everything. In other words, Job asks "why me" or more specifically to the film "why didn't you intervene", and Job tried his entire life to make his existence what he wanted it to be, which for him was that of a pious one devoted to god. Then god smites him for no good reason outside of a game he plays with satan. When Job asks why, god answers by rhetorically questioning why Job didn't intervene when he was building the universe. It's not that he's asking why Job didn't help, but the futility of asking why things happen, as if there's no reason to it. As if life exists with loss and gains, and you have to affirm it as such. There is no why.

That's a great way to look at the film. The first hour or so takes us through a familial setup where we see a young boy's family in the 60s and his modern family today, both of which are experiencing suffering and loss, and both are questioning why, and then we see from god's perspective the size and wonder of the chaotic universe (and presumedly its creation) juxtaposed with the individual suffering of this one family. A dangerous universe. We see how all life has suffered through history (specifically focusing on the dinosaurs in the film at one point). It's all incidental. It's all without reason. It just happens, and we must affirm life this way.

Later in the film it focuses more on the 1960s family, and specifically from the perspective of one of the sons. His mother (Jessica Chastain) coddles him and his brothers while his father (Brad Pitt) is a phlegmatic and hard-nosed authoritarian that keeps his emotional distance - both the embodiment of being affected by passion and fear and emotion. At one point one of the sons dies. The boy we experience the movie through is always questioning why. He asks his mom why she couldn't save his brother. After a life of living under his father's violent authority, he asks why his father doesn't just kill him or kick him out. He suffers and then he questions why he's suffering, and then there's moments where he questions his own choices why he doesn't do things to ease that suffering - for instance at one point he considers dropping the car on his father who is working underneath it (effectively wiping out of existence one source of his suffering).

At one point in the film I felt as if Malick gave us a sneak peak at his intention for the film's message. At one point someone says something to effect of, "We should be good to everyone we come into contact with." This is the salient point. We can't control the suffering. We can't control the despair. Life comes with loss and bad things happen. We have to affirm it as such and make our moments as happy as possible, and also make the moments of other people's (and creatures') lives as happy as possible because they're experiencing the same kinds of suffering that you and me are experiencing. They, too, are incidental.

Malick truly demonstrates this point, I think, when he shows the boys strapping a frog to a rocket and sending it up into the sky. They added to the suffering of that creature even though they themselves are suffering. They didn't touch that creatures life in a way that enriched it, they only added to its suffering - and there was no justice, no penance. Their actions were considered incidental. At most they could be punished by their parents, but nothing intervened to stop them. Their actions were allowed to happen. In the end, I think that's the point of the movie. That we should remind ourselves that we have precious few moments on this earth, and instead of questioning why and giving into bad emotional cues (fear and anger) and acting out on those bad impulses, we should enjoy those few moments and ensure that we make them for those around us (animal and human alike) good as well. It's the classic path to enlightenment that surrounds the story of the Fall (Garden of Eden) where in order to get back into the Garden we must all transcend fear and desire. We must affirm life with suffering.

Anyhow, that's my two cents. Use it to buy a stick of gum.

I saw the Thin Red Line when I was a kid...I keep getting it mixed up with Wind Talkers and other War movies so I have to watch it again. Yes the Fountain is one of the most underrated movies ever.

>> ^Sarzy:

I, too, get a Fountain vibe (which is one of the most underrated movies of the last decade).
And I haven't seen the Thin Red Line yet, a mistake I shall soon rectify. But man, this is such a great trailer. I think I've watched it around five times this afternoon, and it's still blowing me away. promote


Please go watch Thin Red Line now. It's amazing. Not only beautiful (which is weird for a war movie), it is also unlike all other war movies, because it's more about the individual experience.

Also recommend Badlands (1973) and Days of Heaven (1978).

Terrence Malick is among my top ten favorite filmmakers... along with Fellini, Bergman, Scorcese, Lynch, von Triers, and others...

this one looks good -- strange casting, tho, to put Pitt in the role of the father.. maybe it's because the audience already knows him as a sort of "young stud," and not the paternal type...

>> ^Sarzy:

I, too, get a Fountain vibe (which is one of the most underrated movies of the last decade).
And I haven't seen the Thin Red Line yet, a mistake I shall soon rectify. But man, this is such a great trailer. I think I've watched it around five times this afternoon, and it's still blowing me away. promote

I, too, get a Fountain vibe (which is one of the most underrated movies of the last decade).

And I haven't seen the Thin Red Line yet, a mistake I shall soon rectify. But man, this is such a great trailer. I think I've watched it around five times this afternoon, and it's still blowing me away. *promote

Sarzy: ever in the vanguard with all news cinematic. Well done, sir. Malick is more accessible than Kubrick while retaining all the contemplation and measured pacing. Thin Red Line is a fucking masterpiece.

Reminds me an awful lot of Zimmer's "Journey to the Line" from The Thin Red Line... it's almost a total ripoff.

You're a really smart guy and from all accounts pretty darned talented, so I really don't understand this almost obsessive loathing that you have for anything that remotely resembles a group effort, i.e. collectivism. If I didn't hope to have a beer with you and "tie on one" someday I wouldn't even bother responding to your anti-collectivist, lone cowboy diatribes.

I think you're...kind of shooting yourself in the foot by ascribing a blanketed evil intent on everything that seems to involve two or more people working together to achieve a common goal.

I mean, even your movie, man. Look at your movie. You didn't do that all yourself. You couldn't have. You probably did a lot of it, and I'm not diminishing that effort, buy if it were left to you and only you to write, direct, produce, perform in, light, record, film, score, edit, and promote...you'd be working on it to this very day, and it wouldn't be nearly as good. And that kind of cooperation, that group effort for a greater good, applies to almost everything, not just movies.

And I'll make you a bet, anything that you can name, any goal, any achievement that you think you and I could do on our own, if I have one person to help me in reaching that goal, I'll get there before you. If I have ten people I'll get there even faster. And if I have a hundred, faster and greater still.

I know I'll lose some of those bets, but I'm confident that I'll win enough of them to make that loss insignificant.

Gonna watch "The Hurt Locker" tomorrow. Looking forward to it.






In reply to this comment by blankfist:
In reply to this comment by rougy:
Hmmmm. A lot to digest there, Kubrick.

Sort of neutral on J.D. Salinger. Only read Catcher in the Rye and one of his short stories, Banana Fish. I heard rumors that he and Thomas Pynchon were one in the same, and I really enjoyed Gravity's Rainbow, but I doubt the rumor was true after just now googling it.

Terrance Malick I really, really, really fucking like. I thought The Thin Red Line line was sublime. The New World, Days of Heaven, Badlands...I genuinely loved each and every one of those films. Each would deserve a post of its own for me to share my critique. The man has a gifted eye.

Gilmore Girls? Maybe I'll check it out. Doubtful. I really thought you knew me better than that, because from your description, it's not my kind of show at all. I don't really watch much television, especially series oriented shows. I only watch it now because I'm living with mamason and the thing's almost always on, or tempting me to turn it on. When I finally sell the house and get the fuck out of Roswell, I won't have a television in my home for a long, long time, not even for Netflix vids.

Few people detest...nay, despise the "corporate cog" scene more than I.

I thought you would have known that by now, too.



I was being facetious. I know you aren't the type to like Gilmore Girls, that's why I used them as an example, because they were so typical American fluff with typical pro-topical issues storylines. Entertainment Weekly and Time Magazine thought the show was fantastic. How lame is that? And they like it for its quick dialog. Really?

My point was that just because you're not pro-social doesn't mean you're wrong. There are a lot of great people who were recluses, and that is distinctively not pro-social behavior. The get along gangs need us contrarians. We like individualism over collectivism. Martin Luther King Jr didn't ask that we judge a group by the content of their character.