Jim Caviezel did not receive an Oscar nomination for portraying Pvt. Robert E. Lee Witt and Sean Penn did not receive an Oscar nomination for portraying Sgt. Edward Welsh in The Thin Red Line.
I will admit a film I already loved, I might've loved it even more watching this time, perhaps because no matter where the film wanders to there is something to treasure in this unique exploration of a single battle in World War II, covering as a battle, but also a spiritual experience. The key relationship in pondering the key themes of the film is between Jim Caviezel's Private Witt and Penn's Sergeant Welsh. Two characters that are in terms of their original conception continuations of Montgomery Clift's and Burt Lancaster's characters in From Here to Eternity, although adapted in the sequel novel, and adapted again by Malick's screenplay that is far from a straightforward adaptation. Seeing these men as continuations of those men, does make sense, as we open the film with Witt, like Clift's Prewitt, in a state of anti-establishment, here as a deserter with another soldier living an idyllic life with tribal people on a remote island. Caviezel would become best known for playing literal Christ in The Passion of the Christ, plays a Christlike figure, though not as simple as that, as his Witt is of his own place, however it is Christ like in that he seems to be experiencing life beyond what the rest of us are able to see. Say what you want of some of Caviezel's later choices, however he is perfectly cast here, and embodies this role so effortlessly from the first scene we see him as part of this landscape that seems to evoke the beauty of life. Caviezel's performance with minor midwest drawl, though not emphasized, just simply is within this state of mind, something of the joy he expresses as he interacts and almost is one with the natives. Caviezel's specific way though isn't of just simple pleasure of not being at war, it is more fundamental as the man seems at peace beyond just not fighting, rather his soul has found an experience he is able to bond with. Something that ends when an American patrol boat comes across them and takes them into custody.
Leading us to Sean Penn as Sergeant Welsh, a performance that one could describe as the promise I've always seen in Penn, even if he frequently acted in the way of it. As I've made no misconception that Penn is not one of my favorite actors, given he often covers his talent with needless overacting, however within this film this is the purest and most honest performance he's ever given. And we see this in the first of three scenes of philosophical discussion between Welsh and Witt, which I'd say are among my favorite scenes in the film, but nearly every scene of this film leaves me in a bit of awe. Anyway you have contrasting men, and contrasting performances, however connecting all the same which is perhaps where the real power of both performances exist. Penn's performance is without mannerism, without accent, without anything on top of it, he plays Welsh right at you without anything to obscure this man, and is absolutely brilliant in being so direct. Fitting to the direct man that is Welsh, though simple he is not, as we see him breakdown Witt's situation where he's managed to prevent any serious punishment for the man. Something Penn delivers as a blunt stick of a man trying to get through with the rebellion within the squad he "runs". And already there is something special in the chemistry with Caviezel and Penn, because while this film makes no mention of a being a continuation of From Here to Eternity, that sort of history of the man of the army and the man of his own choices, already seems part of them, as the two both seem certain of each other and such a sense of rich history is in every interaction. And that counterpart to Welsh's order comes in Caviezel's performance, which I think shows something more than simply being a Christ-like figure rather he's in this state of transition that he isn't entirely sure of himself. And we see maybe the old Witt, that does seem closer to Clift's Prewitt, as he shrugs off Welsh's "deal", and notes how he can take anything Welsh will give out. There is rebellion in this moment, disregard, and a power to Witt, as he even states that he's "twice the man" Welsh is, you believe him in this almost anarchist strength that reflects their past.
I could try to move on from that scene but there's too much richness in it, as we go beyond the army to the world as Welsh seemingly tries to get through to Witt, by stating his view of the world, which we have two statements and two layers of Penns' performance. As his first statement that a man is "nothing" and that there "ain't no world but this one", Penn's delivery is a weaponized cynicism, almost gloating in his delivery in a method to have Witt accept the facts as he presents them. Something that Witt immediately counters as "having seen another world", that is one of the most beautiful and poignant line deliveries, as there is such ethereal optimism that Caviezel conveys, however the line itself isn't that of a zealous assurance, rather most men of an honest faith struggling with said faith. As his face so naturally lowers into sadness as he continues the line of he thinks sometimes the other world was merely his imagination. Caviezel effortlessly conveys the conflict of the man's soul of desiring to believe in this better world, but in no way having the certainty of a fanatic. The notion of the "other world" seems to impact Welsh, and Penn's masterful in the way his delivery takes in Witt's words in Welsh's response. He's again coming at him with cynicism, however a personal man to man, even familiar way as he shrugs that Witt's seen something he never will. Penn's performance is the first moment that alludes to far more to Welsh than just being an army pusher, as there's an ounce of regret in his own statement, following by stating a selfish view that in the war basically every man has to look out for himself. Penn's delivery is different from the previous statement on the world, now as this type of caution to Witt rather than a command. Leaving the scene by Welsh noting that he may be the best friend Witt's had. A curious statement given their clash in their scene, and can perhaps be taken as just Welsh towing the army's lines of getting a man in line by being his friend. However, Penn's subtle expressions in the scenes make it anything but as there is far more than that, which I will hold off onto towards the end of this review.
The film progresses into the field of battle, where the film focuses on the lives of so many of the soldiers, where Welsh and Witt occasionally are visited within the chaos of the campaign. Witt and Caviezel's performance are curious within the grand scheme of the film, as much as he's not always on screen, he is a common factor within scenes, and suddenly appears at times, almost as though he is a spirit watching over the men, despite very much being a real man. Curious in an absolutely captivating way as Caviezel's performance expresses this different journey Witt goes through while still being part of the battle, even at one point volunteering again for active duty. He's not suddenly a pacifist within the scheme, but he's also not just one of the men either. He is on his own journey which often is through brief moments as we see Witt within the battle each time, and Caviezel's work is fascinating. Fascinating in a way that if it had not been perfect it would've been terrible, thankfully he's perfect. In that Caviezel's work is always on a different wavelength, and often is a man seemingly between the two worlds he spoke of in mind though perhaps not body. Caviezel's work makes every moment in which Witt appears to have an impact by offering this alternative expression of a soldier that doesn't follow any expected tradition. There are moments he's part of the fight but never do we see aggression. There are moments where he volunteers even, but that doesn't seem like heroism, rather even the way Caviezel delivers these moments is as though Witt must perform the action as though he's called to, rather than commanded to. And what is so fundamentally remarkable within Caviezel's portrayal is that as otherworldly as it is, he presents as this matter of fact truth to Witt. Caviezel crafts this calm yet insight about it, one especially potent moment is during the accidental death of another soldier, and we see Witt watch him die. Caviezel, through the most minute changes, manages to create empathy, sadness, but also a kind of enlightenment as though for a moment he's seeing the man's soul before it leaves this world. Another is when he's observing an enemy soldier, and while we see him take a difficult encampment as a soldier, Caviezel as Witt watches the enemy doesn't see them angrily as killers of his comrades, nor annoyed at needing to deal with them or even the distance necessary to kill. Rather it is with this empathetic calm, and we see him see them as people, only as a man who can tap into this unknown could, and brings such beauty to the moment Witt offers an enemy captive gum, not as a ploy, or even an olive branch, just kindness to his fellow man.
Welsh too is among the men, though certainly differently from Witt, as a man trying to keep them together in their advancement, though Penn carries the expression of the hardened soldier, who is there to survive. As man too who seems perhaps different in his own way, as Penn too is observing constantly in his performance, always present in a way that differs from others as the man observing and trying to understand everyone and everything around him, though if you were to ask Welsh he'd deny such a claim. Welsh being the selfish survivalist, something though he is lying that we alluded to in the first conversation with Witt, but we see more abundantly during the battle when a screaming wounded man is trapped out of cover. Penn's performance is outstanding in the scene as you see him watching as he does, then just have conviction in his eyes as he runs out, as selflessly as you can be as he gets to the man. And Welsh is as empathetic as any man could be as he offers to save the man, and every moment of Penn's performance is wholly in concern for the dying man. Welsh is torn apart as he can only offer the man an overdose of morphine to ease his pain, and Penn is heartbreaking in that moment of realization. When he returns from his selfless mission, Welsh tells the truth, if seemingly towing his callous line, as his Captain wants to cite him for his bravery, however Welsh adamantly refuses any such mentions dismissing medals as property. Penn's performance is incredible because you see the way Welsh instantly hides his empathy in the rejection showing a kind of anger covering it all up, in part in genuine belief for life rather than reward, but also anger of a man who needs to be callous rather than collapse from the emotional turmoil of the moment.
Our second conversation between Welsh and Witt comes in the middle of the battle, where despite the conflict based upon their views, the connection despite the theoretical connection is tremendous. And we see the change in the performances, Penn puts no army bravado, now it is just honesty, even if a bit of personal force behind trying to convince Witt of his single worldview. Penn's subtle shift here though quietly evokes concern within Welsh for Witt, no longer as man just trying to get a soldier to do his duty, now alluding to something more in trying to keep Witt alive. Contrasting that is Caviezel as Witt is further in his journey, no longer needing to argue with Welsh over the notion, rather there is a clarity in his eyes as the man is finding this way to look beyond. The two men, as much as Welsh would never admit, are more connected to what is going on around them then almost anyone else, though Penn's performance is a man of the earth, while Caviezel is the man of the soul as we progress. And we see this as each interacts with other soldiers, Penn is incredible in another scene where a soldier callously dismisses any concern, which Welsh thought he was, and we see in Penn's performance, as he so perfectly articulates Welsh's mindset in this conversation. Because we see the man who thought he was the man he's talking to, numb to the world only caring about himself, however now Welsh explains himself as not there yet based on expectation with an exasperation at first as though he would like to be numb, yet his eyes present a sorrow as he continues to speak, and shows that Welsh will never be that numb, in fact may be incapable of being so despite what he tells others. Penn shows the suffering of a man who wishes he couldn't care, but cares so deeply. Caviezel presents Witt's interactions alternatively as this comforting factor towards almost everyone he comes across, as he walks, nearly glides in his manner that brings this understated warmth of a man who has this peace within himself, even as he exists within a battlefield.
Our third conversation between Witt and Welsh comes during the respite in fighting, and in our most relaxed circumstances between the men. And this scene is as rich as their first together, maybe richer in some ways, as both men are in a different place from the battle and we see them slightly out of the confines of the war, though certainly still aware of it, within the familiarity that Penn and Caviezel deliver in this scene. Each man challenges each other still, though the delivery this time is so different and essential in conveying each man in that different place. Caviezel has that impeccable calm about him as he maneuvers through the lonely hut the two are inhabiting. Contrasting Penn who is exuding the exhaustion of what they have been through so far and brings this casual practicality about it, as man getting straight to it though in what can be described in a friendly way. As he questions Witt if he's "making trouble" by not conforming, Penn speaks not as an attack but as a knowing sort of between friends dig. Something Witt doesn't allow any disconnect in as he speaks with such a powerful yet reserved way of reaching to Welsh with "you do care about me, don't you sergeant? I always thought that you did", is so beautifully spoken as Caviezel brings such a potent sense of love in the words, and breaks down any notion of conflict by pointing out the kindness of Welsh despite how he makes himself out to be a "rock". I adore especially when Witt, with all sincerity from Caviezel, asks if Welsh gets lonely, to which Penn's delivery "only around people" is a bit cynical aside however, in his expression you also see how true it is to Welsh's state as the man who believes he must be hard but is just a soulful deep down. Welsh's followup change of subject "your still believing in the light are you" is this soft challenge, Penn not quite making fun of it, but trying to take away some of the gravity of the idea in his asking at first. However as he continues with "how do you do that, you're a magician to me", Penn so naturally and so honestly shifts with the slight crack in his voice, to see that Welsh does truly want to know. Followed by Caviezel's "I still see a spark in you" with Cavizel somehow so naturally in this place of otherworldly grace as he wholly inspires in the beautiful yet so simple way of expressing it. But even that might not be the most potent moment, as Penn's reaction is heartbreaking as his expression of Welsh is about to break down fully, as though his attempt at a cynical world view is so pained by Witt having this optimism for him. I can praise the actors enough in frankly making for me one of the poignant scenes in any film, and what the scene also shows is getting back to that "best friend" line of the first scene, we know is an absolute truth. Welsh is Witt's best friend, but truer though is Witt is Welsh's best friend, something Welsh knows deep in his heart. And we find this in the final moments of this film, as Witt goes off on another dangerous mission where he makes a heroic sacrifice to draw the Japanese forces away from the rest of his unit, leading him to be surrounded. A scene that works because of Caviezel's performance, where Witt willingly chooses to sacrifice himself and not surrender moving onto another world...or perhaps his imagination, it is for each of us to decide that. But Caviezel's work is astonishing because you see the way, this passage in his eyes, as begins as a man surrounded by enemy soldiers in fear and in adrenaline of the chase, however then Caviezel's expression changes as he so powerfully suggests the man now fully looking beyond his current state and accepting his faith to see another world. Absolutely stellar work, and to compliment that is Penn's heart wrenching final scene as he stands above a buried Witt pondering where his spark is now. Penn's performance is incredibly moving because it isn't the cynical man being proven right or gloating in any way, it is just a friend torn up having lost a man he cared about needing to now continue on this world alone.
Nick Nolte did not receive an Oscar nomination for portraying Lt. Col. Tall in The Thin Red Line.
Nolte once again in 98 subverts his usual presence, while bringing that presence here to the role of the Army colonel leading the attack on Guadalcanal. A role that in most films would be that of the internal villain pushing the army in the wrong ways and the wrong direction, though while his actions still can be described as villainous, the character of Col. Tall isn't so simple. Part of that is the brilliant way he is introduced as he's receiving his instructions from his superior officer, very much prodding him for success in the upcoming battle, while also essentially noting that the Colonel is a bit behind for his age in terms of advancement in the military. Which already is such a different side to Nolte already as he's very much the submissive in this conversation, which is particularly remarkable when John Travolta is playing the superior officer. Nolte eagerly nodding along to every suggestion, and even threat that he best accomplish what he is being tasked with, and such subtle sense in his work of the glint of fear of the task of a man knowing he will stay exactly where he's been if he doesn't do what the general is asking him to do. But there's more within Malick's genius choice to let us in on the thoughts of the "villain" , thoughts that are filled with such vulnerability, delivered so differently by Nolte than the rest of his performance, as his voice is of an exhausted and sad man. There's no pride in his voice in his contemplation, in his choices to try to fulfill this ambition, it is rather this near heartbreak of an acceptance of a man pushing himself to do what he knows isn't right to do what he thinks he must. As context that instantly prevents Tall from being a standard army brass character, and becoming so much more as the film progresses.
Like Welsh and Witt, Tall too has a counterpart, though very different here in Captain Staros (Elias Koteas), the man leading the direct assault of Tall's campaign. The first instance in which Tall and Staros come into conflict is when the progression of the attack has stalled due to a seemingly impenetrable, from a direct attack, machine gun nest. Nolte's performance is as the villain as he brings such a vicious bluster as he comes in strong and hard, demanding that Staros attack regardless of the extremely likely casualties. Nolte brings this ferocity of something more than just wanting to progress in this battle, but a man whose whole life's purpose is reliant on this attack. Nolte's is great because he doesn't play this one note, despite the fact that Tall is presenting himself to Staros in trying to force the attack, as even the way Nolte wipes his head in the argument that signals a bit of the truth behind the presentation. Staros, who empathizes with his men above all else, refuses directly against orders. Though they are talking over the phone, each performance works against the other so powerfully as Koteas brings this calm against Tall's raging to try to get it, but again Nolte in just a subtle moment shows the weakness in this ferocity. Nolte presents a man who is pushing forth this anger as his way of believing he must. Nolte portrays the character not as a man who is as just as he is, but a man believing he must be something more than who he might actually be.
We see this as he gets towards the front, and Nolte's physicality is just pitch perfect as we see, as his narration also denotes a man very much "playing a part" in his far more somber, far more naturally human delivery within the man's mind. Nolte walks up to the front line with all this swagger, essentially presenting himself as the "ideal" commanding officer as he comes into the front line with two methods in his arsenal. That is more rage with Staros as the dog barking his orders as the tough commander and the other as the inspiring of his troops. There's a great brief moment as he walks through with a stick, tapping it on a soldier and "come on son" as Nolte performs it as though Tall is ready to be photographed for a propaganda poster encouraging men to face their enemy as brave soldiers. Nolte continues this as Tall states his belief that this battle could be the turning point of the war and argues with Staros over what it will take. Nolte is fantastic in the way he nearly rambles on about the potential of the battle with this specific enthusiasm of the man's ambition but also this way he delivers the callousness of which Tall prods Staros about sacrificing his men. Nolte prods with every question presenting as this attempted simplification of trying to avoid really dealing with the idea, rather than making it seem some absurdity that his men won't die. My favorite moment of the scene is after he's done, where Staros very quietly gives a passive "you might be right", Nolte brings vulnerability within the attempted dominating way of speechifying. His "speech" being that Staros should just assume Tall is right, although an attempt at domination, Nolte brings just the right combination between the force the man wants to push but in his eyes not nearly the certainty to truly command the way he would wish.
After the hill is taken, Nolte is just outstanding in the amount of jubilation he brings in just walking it as though he has made the achievement with no sense of the life lossed, just the joy of what "he" has accomplished. When one of his soldiers John (John Cusack), who made the brave move against the hill makes a few requests, Nolte is so good in the way he fluctuates on so many levels of Tall in the scene. When John simply asks for a way, Nolte shows this sort of built in instinct in playing the part of the tough colonel, "Forget the way" with a callous disregard for the health of the very men that have accomplished his "dream" so far. Nolte's amazing the way he shows it though, as the way the man beneath that catches himself when he acknowledges who he is talking to, and suddenly his voice becomes almost whisper quiet, much more human, as he offers some weak attempts at assurances. Nolte moving between the bark and the meek whimper between the two in his argument. As John doesn't relent, Nolte is mesmerizing as he goes off in the very truth of Tall in speaking about what this truly represents to his whole life in the army, there is a thrill in the idea as he sings the possibilities, but in this same mania there is such pontent, and deep seeded frustrations of an older man left behind within his career. Nolte excels in showing all of that vulnerability in the man, trying to present himself as anything but. Within it the true motivation of the man. My favorite moment of the great scene for Nolte is right at the end though where with genuine pride in Nolte's voice Tall thinks of John as a son to him, however again it continues as he notes that his actual son is a bait salesman. Nolte brings so much in this one line, in the way he speaks it so regretfully, and in his eyes you see a man so lost in his life, with this war, in his mind, being the only solution to give it meaning.
The conflict between Staros and tall culminates as Tall relieves Staros of his command. A great scene for both actors because of the disconnect both articulate so beautifully. Koteas so beautifully shows the man who cares about every one of his men, where Nolte comes in representing the "need" for the push for the war. Nolte's performance so flawlessly creates this very difficult idea of a man selling a false bag of goods, who knows it, but isn't *quite* a con man either. Nolte's great in the way he speaks every word of "firing" Staros as not being "tough enough", as he brings this kind of casual disregard as though he wasn't meeting a work quota, rather than was vouching for the lives of human beings. Tall this time stays steadfast, however Nolte still shows that he must sell his own certainty, to himself in a way, as he speaks about the cruelty of the jungle as a talking point, then segues towards this almost friendly way of softening through a "severance package" of military decorations. When Staros asks "why" Nolte is tremendous in the way he wraps this insecurity of the man, by again first just saying for his wounds as though he's doing it as a favor, but as the question needles at him, that bluster comes out again of a man covering up so much to convince himself what he is doing is right. The decision is followed by orders, where we get a final standout moment for Nolte as he looks on silently alone looking at the corpse of dead men. Nolte is outstanding in Tall seeing the dead men he sacrificed, and that loss finally registering on his face so powerfully in his performance. So powerful because we see the man stripped of all his ambition, all of his reasoning, just looking at the result, and Nolte conveys this quiet internal revelation of maybe the better man that was within, which he hid away for the sake of war. Nolte delivering yet another truly great performance in this film, creating such a dynamic and human portrait that creates such tremendous depth to the type of role that usually is one note. Nolte gives his greatest turn by not rejecting the note, rather showing the very real person who has compromised himself to craft that "note".
