-- 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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