Cinema Experts

“A story: A man fires a rifle for many years, and he goes to war. And afterward he turns the rifle in at the armory, and he believes he's finished with the rifle. But no matter what else he might do with his hands, love a woman, build a house, change his son's diaper; his hands remember the rifle.”
The first thing that may surprise audiences is that this is not necessarily an anti-war piece. Mendes and screenwriter William Broyles, Jr. have been careful not to make this film narrow in view. Instead, by focusing on the psychological turmoil of one soldier, Anthony Swofford (Jake Gyllenhaal), Jarhead is able to speak specifically about this man's experience and how it relates to those around him.
Mendes drenches the screen with sights and sounds that literally envelope us in the horrors of warfare. These explosions of vision and noise are counterbalanced, however, with scenes of great sadness and warmth. One scene that comes quickly to mind is a boot camp drill where the young soldiers are crawling under barbed wire--the sound design is such that we hear every character screaming or grunting as the gunshots zoom overhead. But then, the scene changes. An event occurs that allows Mendes to silence all of the violence and machismo of war. Amongst the hysteria of the scene, one of the soldiers freaks out and a gunshot is discharged. Mendes lets the camera witness this as if it hadn't expected it to occur. The characters are in shock, and so is the audience. It's just one of many powerful moments where Mendes changes from loud, visceral warfare to quiet, poignant moments.
Not that there's much warfare here. In fact, the lack of warfare becomes a theme for this film. Peter Sarsgaard, in a great performance, reaches his breaking point during the final third of the film, and it's a riveting moment where the lack of warfare has finally made him explode. His performance is very strong throughout, but it is not until the second half of the film when he finally gets the chance to break loose.
Jamie Foxx surprised me here. His character is so well-conceived, and works wonderfully as the counterpoint to the Gyllenhaal character. Foxx plays his scenes confidently, but also with touches of gravitas that, even in Ray, we haven't seen before. The scene that we get a glimpse of at the end of the trailer is wonderful in its fullness, and helps Mendes' film give us a well-rounded opinion of Swofford's opinions on the war. Foxx is by turns hilarious and profound.
And then there was Jake Gyllenhaal. Wow. This is an incredible performance. Watch for a dozen scenes where he literally explodes off the screen, but how he also juggles the quieter moments with great aplomb. What makes Swofford an intriguing character is that he doesn't always get our sympathy; or, for that matter, want our sympathy. He is scarred by war and his family and the life he left behind, and he is just looking for a way to get out of the sand and the sexual dysfunction of war and the lack of gunfire. Gyllenhaal captivates our attention from his very first glimpse, and his voice-over performance laces the film with irony and melancholy. He is a great physical presence in the film as well. I could cite more than a few dynamic scenes that he performs masterfully in, but I'll just mention one. Swofford points a rifle at a fellow soldier after a failed night watch, and then turns the rifle on himself, asking the fellow soldier to discard a round into his mouth. It's an indescribably painful scene to watch, but it's also an example of Gyllenhaal's brave and honest portrayal of this bruised man.
Some people have begun to write about this film as lacking structure or story, and in saying that I'm afraid they may have missed the point. This is a story about ambiguity of self, about dislocation, about ambivalence to war and love, about sexual frustration. In these terms, I think Mendes & Co. have found the perfect way to cinematically allow us to experience the same sort of blank complexity that Swofford must have felt.
As Swof's friend Troy says at one point, "Fuck politics. We're here. All the rest is bullshit". Which is all the movie is about, really. This is what happened. Take it or leave it. 9/10

"I had always heard your entire life flashes in front of your eyes the second before you die. First of all, that one second isn't a second at all, it stretches on forever, like an ocean of time... For me, it was lying on my back at Boy Scout camp, watching falling stars... And yellow leaves, from the maple trees, that lined my street... Or my grandmother's hands, and the way her skin seemed like paper... And the first time I saw my cousin Tony's brand new Firebird... And Janie... And Janie... And... Carolyn. I guess I could be pretty pissed off about what happened to me... but it's hard to stay mad, when there's so much beauty in the world. Sometimes I feel like I'm seeing it all at once, and it's too much, my heart fills up like a balloon that's about to burst... And then I remember to relax, and stop trying to hold on to it, and then it flows through me like rain and I can't feel anything but gratitude for every single moment of my stupid little life... You have no idea what I'm talking about, I'm sure. But don't worry... you will someday."

In my opinion, the best film of 1999, a dark comedy/drama that revelead two new cinema genius, Alan Ball as a writer and Sam Mendes as a director. Both received an Oscar for their work. A film that explores themes of romantic and paternal love, freedom, beauty, self-liberation, existentialism, the search for happiness, and family against the backdrop of modern American suburbia. Kevin Spacey (another oscar-winning, for Best Actor in a Leading Role), plays Lester Burnham, a man on the brink of a mid-life crisis, who suddenly becomes obsessed with one of his teenage daughters friends played by Mena Suvari. Because of this obssesion, Lester begins to return to his youth: quits his jobs and starts working in a fast food restaurant, buys a new Firebird and even starts buying drugs... His daughter (Thora Birch) is, as Lester tells us in the beginning of the film , "a typical teenager. Angry, insecure, confused...". And his wife Caroline (Annette Bening, nominated for Best Actress in a Leading Role but lost to Hillary Swank) has an obsession of her own, her public appearance. Life starts off on a downer for the Burnhams and their new neighbours the Fitts despite their lives looking good from the outside. As life begins to improve (with most of the main characters finding what they think is love or new relationships) it soon all comes crashing down in the climactic final day.

The writing is nothing short of brilliant and made even more amazing by knowing that it comes from a first time feature film screen writer Alan Ball (who had had years of prior experience writing TV sitcoms - not that you'd be able to guess from the tone of this film). The directing is on a par with the writing and Sam Mendes manages to get some brilliant performances from the great cast, who are all faultless. No doubt Mendes' theatre directing past played a huge part in directing the actors so well. Another person worthy of a mention is the late director of photography Conrad L. Hall, another one of the five oscar recipients for this film.All the elements in this film gel perfectly together to make one superb masterpiece. Not one person, either cast or crew, steals this film or does anymore than anyone else to make this film what it is. Truly an ensemble effort. 10/10