Analysis of the 'Bathroom Scene' in FMJ

            In my movie viewing experience thus far in my life, I have seen a good range of powerful scenes in a range of movies. But if there were one scene that grabs my attention more than any other, it would have to be the bathroom scene in Full Metal Jacket. It may simply be because of the tense actions in the scene, and the gore-filled conclusion to the scene that sticks in my brain, but there are other aspects to that scene that make it as powerful as it is. I suggest watching the clip now.

            Obviously, the end of the scene sticks with all viewers, as any blood-splattered wall would inevitably do. But I believe the analysis should start well before the scene actually starts. The analysis should begin with what we bring into the scene from previous elements of the film. Leonard Lawrence, or Gomer Pyle, as he is named, progressively turns into a mad man throughout his time at boot camp. The viewer brings this notion into the scene before we even see the outcome. We know that Private Pyle has been tormented and chastised by his fellow soldiers and drill sergeant.  Author Zivah Perel states in his article, that “Pyle clearly lacks the ability to process fully what Hartman teaches him, and his mimicry of Hartman at the time of his death makes this failure clear,” (Perel 226). We also know he is finds comfort in his rifle, he even talks to it calling its action, “beautiful.”  Perel goes on to say that it is ironic that the very thing helping Pyle to actually succeed in the military is his rifle, and it turns out to also be his end.

            When the scene begins, we hear silence, and what seems to be pins dropping. This use of sound brings suspense into the scene before we know what happens. Last time this sound combination was used was in the scene where the soldiers beat Private Pyle with the bars of soap. This element is something else we bring into it, wondering: what will happen this time?

            Next, we see that it is Private Joker to be the one ‘pulling fire watch.’ We know that Joker was the one to help out Private Pyle when he was struggling. Joker was the one who was told to take Leonard under his wing and teach him. We see a small bonding between the two but then in the scene where they beat Private Pyle, Joker hesitates but follows through, beating him mercilessly. Their relationship is questionable at this point in time, not knowing where exactly they stand with each other, and that tension is what we carry with us to this final scene.

            Once we get into the bathroom, we see Private Pyle sitting alone holding a rifle’s magazine with his rifle propped against the toilet. He slowly looks up to face the camera and his solemn look turns to a crazed smile. Breathing heavily, he says, “Hi Joker.” The way he says this is like a child. He speaks slow and with a certain cadence, adding more elements of terror as the scene progresses. The only light in the room comes from the windows above the toilets, and Joker’s flashlight. The blue hues of the lighting also add to the eerie elements of the scene. The light here almost seems like a film noir because lines of light hit specifically in places, and illuminating Joker’s face during close ups. Author Claude J. Smith Jr. relates the lighting in this scene to Kubrick’s other film, Clockwork Orange. “The lighting in this scene recalls the lighting during the first attack of ultra-violence in Clockwork where Alex and his droogs analogously truncheoned the “dirty, filthy old drunkie” in cold, sadistic joy,” (Smith Jr. 227). When Pyle slowly adds rounds to the magazine, the tension builds more. We learn they are live rounds and the danger of the scene escalates in our minds. “Seven. Six. Two. Millimeter.” Another rhythmic statement by Pyle, “Full. Metal. Jacket.” The spaces between his words add dramatics to each word following it. The way Pyle says his lines in this scene is an important part as to why the drama builds, as if we are hanging on to each and every word he has to say.

            The most brilliant part of this scene is when Private Pyle stands up and goes through his attention commands. Calling out left shoulder, right shoulder, and carrying out his orders with amazing accuracy and splendor to them. His routine is almost flawless, which only leads us to believe that he was capable of much more than we ever saw out of him. His declaring of the rifleman’s creed is moving, putting emphasis on every syllable of every word. Again, we listen to everything he has to say, because he has all the power in the scene. Even when Sergeant Hartman enters the scene, we are focused on the matter at hand just like Joker. Hartman’s speech is awkwardly long, making the viewer uncomfortable because of how serious the matter is.

            The close up of Private Pyle is a scary one. His face deformed by a shadow across his eye, and his smile is menacing. The elements of lighting here make him look exactly like what he has become: a monster. Lighting also plays a role in Hartman’s orders to Pyle. The drill instructor moves through shadows and back into light while giving his orders. Pyle’s gasping breaths are remarkably eerie, as any normal human being wouldn’t breathe like that. He takes one last gasp and aims.

            I always think Sergeant Hartman went about it wrong, I mean the way he spoke to Pyle right before he died. I think I would have chosen something like, “Easy Leonard” like Joker did, rather than calling him ‘numb nuts.’ But I also don’t think it would have mattered. He would’ve pulled the trigger anyway.

            Covered in blood, the drill instructor lies dead on the floor, leaving a final stand off between Joker and Pyle. This is where we reference their relationship from earlier in our minds. Will Jokers helpful actions help him more than his hurtful actions? Leonard lowers his weapon, and the hand-held camera work follows him as he sits down. I always find hand-held work to make films more personal, as if I was there. We see the cultivation of their relationship. To me, Pyle realizes Joker’s negative treatment toward him was never personal and he lowers the weapon.

            I never am quite sure why Kubrick shows the suicide. Maybe he does it to show the ‘realness’ of war and how it takes its toll on people. Perhaps he thought he owed the viewer some type of climax after watching the first half of the film. I’m not sure how I would’ve done it if it were myself directing. I’m just glad Kubrick didn’t cut to black with the sound of a gunshot ringing over a black screen.

Perel, Z. (2008). Pyle and Joker's Dual Narratives: Individuality and Group Identity in Stanley Kubrick's Marine Corps. Literature Film Quarterly, 36(3), 223-232.

Smith Jr., C. J. (1988). Full Metal Jacket and the Beast Within. Literature Film Quarterly, 16(4), 226