Full Metal Jacket: Meanings

Form and meaning is an important matter to discuss in reviewing and analyzing films. It is no surprise that we, as viewers, take away a lot of meaning after viewing films.  There are multiple ways we can do this. The most obvious meaning we take is the ‘bare bones’ plot summary, or what is also referred to as ‘referential meaning’ (Lecture). This includes the elements we see in the film. For example, in Full Metal Jacket, some referential meaning we take from the film is that the story first takes place at boot camp and follows a few main characters as they grow as soldiers until they are sent off to Vietnam.

Another form of meaning we take while viewing films is ‘explicit meaning.’ We learned in class that this is the significance of the film, expressed overtly usually in language in the beginning of the film (Lecture). Pretty much I understand it as the point of the film. In Jacket, I believe that the explicit meaning for the last section of the film is: the war in Vietnam was fought for questionable reasons, but the soldiers fought on for their country. We are supposed to see how the military shapes soldiers, and what war is like for those fighting. Another thing we don’t have to look deep into is the Vietnamese people. Kubrick portrays them as enemies, thieves, and prostitutes; never anything good or respectable is portrayed. We could, however, form our own opinions about the Vietnamese, and that would move us into our next type of meaning.

The idea of the viewer forming opinions and discovering meaning is a part of both implicit and symptomatic meaning. In implicit meaning, we reflect on the major themes of the film. In Jacket, we reflect on how boys turn to soldiers, how the military shapes the men of America, and how war can affect all types of people. Some things we analyze are the treatment of soldiers at boot camp, especially the treatment of Gomer Pyle. We see him get chastised for not being able to keep up with the rest of the group. We try to justify the drill sergeant’s actions. We also see the growth and shaping of Private Pyle, from an incompetent slob, to a mad man capable of more than we ever thought possible. Is this what happens to people when they go through boot camp, or see action in war? A question such as this demonstrates the idea of implicit meaning.

The fourth form of meaning is called ‘symptomatic meaning.’ As defined in class, this means the significance that a film divulges, often against its will, by virtue, or historical social context (Lecture). In Jacket, the next meaning we take starts to question whether or not the Vietnam was a war worth fighting. We are supposed to interpret the reasons for fighting the war, and form our own opinions. People bring in opinions of the Vietnam War before even seeing the film, so preconceived notions are brought in and effect how people read the film. Another thing people take symptomatically is the view of women in the film. Throughout the beginning of the film the men are referred to as ladies and they graduate to men. Is this saying something about the role of women in society? Another example is the female sniper at the end of the film. Is the fact that a woman brings down many members of the male platoon also saying something about society? Some critics think the film is all about eliminating women and how the marines are a prime example of eliminating feminine qualities. Author George F. Gilder states in his book, Sexual Suicide, “The good things are manly and collective; the despicable are feminine and individual…when you want to create a group of male killers, that is what you do, you kill the women in them,” (Gilder qtd. in Pursell, 221). I don’t necessarily believe Kubrick’s sole intention of the film was to promote the eradication of women, although I can certainly see where people may see that.

When looking at a film, there are many interpretations viewers make. From the obvious meanings to the ones meant to be found out on their own, readers of film always have something to take home after a film.

Pursell, M. (1988). Full Metal Jacket. Literature Film Quarterly, 16(4), 218.

Wilson-Brown, C. CMN 3530 Lecture, September 1, 2011.