The Yom Kippur war almost caught Israel unawares. Twenty days later they were across the Suez 100km from Cairo and near as many from Damascus, another disaster for the Arabs. In a strange turn of events however, the surprise attack and doom-laden buildup to it, with thousands of graves dug in anticipation, had a devastating effect on the country, in effect signaling a perpetual state of fear and alert.
I am in the middle of exploring through films these bumps in the national mind, which brought me here. For what it's worth, the filmmaker has decided to capture an experience of war as purely about what it means to be there as he can. He knows, he was there.
Sadly, it's flat beyond belief. For better or worse I found it to be nothing like Thin Red Line, as others have mentioned in their comments. Whereas Malick spins war to be one of conflicting urges in the soul, this is what we see, two hours of med- evacs carrying the wounded.
There's one contemplative image in the film, a helo shot of a muddy battlefield with maneuvering tanks drawing meaningless patterns on the mud, contrasted with the early shot of the lush mingling of painted sex evocative of life, color, imagination, spontaneity. It's a great shot, and perfectly describes both what the film wants to portray, a sort of aimless cosmos, and what it ends up with—aimless doodling on the ground.
So the filmmaker reminisces in film about a time and place that allowed no skyward gaze. The important message is that war is as wasteful and pointless to happen in real life as it is to watch in this film.
I am in the middle of exploring through films these bumps in the national mind, which brought me here. For what it's worth, the filmmaker has decided to capture an experience of war as purely about what it means to be there as he can. He knows, he was there.
Sadly, it's flat beyond belief. For better or worse I found it to be nothing like Thin Red Line, as others have mentioned in their comments. Whereas Malick spins war to be one of conflicting urges in the soul, this is what we see, two hours of med- evacs carrying the wounded.
There's one contemplative image in the film, a helo shot of a muddy battlefield with maneuvering tanks drawing meaningless patterns on the mud, contrasted with the early shot of the lush mingling of painted sex evocative of life, color, imagination, spontaneity. It's a great shot, and perfectly describes both what the film wants to portray, a sort of aimless cosmos, and what it ends up with—aimless doodling on the ground.
So the filmmaker reminisces in film about a time and place that allowed no skyward gaze. The important message is that war is as wasteful and pointless to happen in real life as it is to watch in this film.