What are some brief insights on FULL METAL JACKET?

-- On the abrupt shift after Pyle's suicide: I regard it as like what 
   dramaturgist Oscar Brownstein called a Perception Shift -- an 
   intentional dislocation of the audience's attention from one style to 
   another, with the purpose of forcing a deeper attention to underlying 
   themes or motives. Up until that moment, we'd been lead to expect a 
   certain kind of anti-war film (though we come into the theatre for 
   the most part knowing about Strangelove and Paths of Glory, we don't 
   know exactly what to expect), and the comic tone, etc. sets our 
   sights a certain way. Then, suddenly, we are dumped from the middle 
   of ACO into Paths of Glory, as it were; and the hour or so we've just 
   seen is altogether & immediately transformed into something deeper 
   (rather than gradually, through exposition, for example). The effect 
   is breathtaking.
                                                                (G.A.)

-- Like HAL, Pyle ends up turning against his "creators," in this 
   case the Drill Sergeant. Pyle doesn't shoot Joker when he has the 
   chance because he knows that Joker isn't responsible for the system; 
   he's just as enslaved to it as Pyle himself is.
                                                                (J.M.)

-- The "club that's made for you and me" could very well be the 
   Marines. In this way, maybe Kubrick is saying that the military makes 
   it possible to ESCAPE growing up, in other words they become a "gang" 
   a la CLOCKWORK ORANGE, and release their aggressions into acts of 
   officially sanctioned violence, in a way "absolving" them from their 
   crimes and thus preserving their childlike innocence.
                                                                (J.M.)

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