Full Metal Jacket
In the first part of the movie, in the sequences inside the barracks during the drill, a special lens was designed to keep every single Recruit in focus. Director Stanley Kubrick intended that no one was special and they all had the same treatment.,On several occasions, the word "repeat" is used while speaking on the radio. In the Marine Corps, the use of the word "repeat" on the radio is reserved solely for talking to artillery units to request a repeat of the last fire mission. The term used would be: "say again your last" or "I say again.",[first lines]
Gunnery Sergeant Hartman: I am Gunnery Sergeant Hartman, your senior drill instructor. From now on you will speak only when spoken to, and the first and last words out of your filthy sewers will be "Sir". Do you maggots understand that?
Recruits: [In unison in a normal speaking tone] Sir, yes Sir.
Gunnery Sergeant Hartman: Bullshit, I can't hear you. Sound off like you got a pair!,End credits list a song performed by Sam the Sham and The Pharaohs, misspelling the last word as "Pharoahs." This has not been corrected on any home video version of the movie.,Originally the song Paint it Black played at a higher speed and higher pitch during the end credits but starting with the 2001 DVD re-release, whenever the movie was remixed to 5.1 (from mono) it was "corrected" to where it plays at the regular speed and pitch instead.,Edited into EBN: Commercial Entertainment Product (1992),Hello Vietnam
Written by Tom T. Hall
Performed by Johnny Wright
Courtesy of MCA Records,"With flowers and my love both never to come back ... It's not easy facing up when your whole world is black". So sings the man whose throbbing song marks the film's end, merciless lyrics to describe thematically a story that is as wrenching as it is mesmerizing.

There are no villains in this film, only heroic victims. The villains are all off-screen, comfy behind mahogany desks, or dressed for success and giving shrill speeches about how maintaining peace requires war. Strange logic.

First it's boot camp, a dreary prospect at best, for an ordinary group of young American men. Here, a sadistic drill Sargent, in colorful language, barks out orders and insults straight from Hades. It's do or die, almost literally, for our greenhorns. It's an ordeal of blackness from which some may never recover. Still, the grunts learn a valuable lesson; namely, that life is mostly physical, not mental. It's a lesson some ivory tower college professors never learn.

But then it's on to an even blacker black ... Vietnam. Combat scenes are rendered believable by effective visuals and terrific sound effects: pounding percussion, amplified sounds of equipment and footsteps across explosive debris, and an always present, ever-so-subtle ... echo. Potent and torturous, these scenes convey a Zen-like immediacy, an impending sense of doom. And then at film's end, those lyrics ...

Composed of two, barely overlapping, parts, the script's structure is a bit unorthodox. But the film works, owing to an intensity that never lets up. R. Lee Ermey is of course terrific as the harsh drillmaster. Casting of the young lions is okay, though a tad weak in one or two cases. Insertion of pop songs of the era works well, to amplify the cultural disconnect between a war-torn Vietnam and an indifferent America.

Like reading a history book, watching an occasional war movie is good for the soul. It puts one's problems in perspective. For that reason, this particular war movie is better than most. It's riveting, intense. And the sense of impending blackness hovers ever present over the story's heroic victims, like the sword of Damocles.,