Li 1

James Li

Professor Jason Stevens

AMST 322

03 May 2016

Unity in The Thin Red Line

The Thin Red Line is a World War 2 film that was released in 1998 directed by Terrence

Malick. The film is specifically about the Guadalcanal battle fought on a pacific island against

Imperial Japan in 1942. In addition, The Thin Red Line is unlike classic World War 2 films that

serve to connect the American way with Christianity. The film has added American

Transcendental elements that can be understood universally. American Transcendentalism is a

philosophical movement in the early 19th century in the U.S. in response to intellectualism and

spiritualism. Director Terrence Malick attempts to express his beliefs about American

Transcendentalism from the film through the manipulation of cinematic techniques and plot

developments. In The Thin Red Line, director Terrence Malick tries to persuade us of the unity of

all things even in a time of war by visual beauty, interior monologues, symbolism of

transcendentalism and the characters’ inter-relationships.

The visual beauty includes scenes of trees and the lights on tree tops that symbolize the

nature’s longing for unity (Whalen 163). The visual beauty also includes tranquil scenes of

coconuts sprouts in the larger background of an island and the sky, which symbolizes that

coconuts sprouts are part of the greater unity (Stroud 5). It can also be argued that the beauty

seen from lights on tree tops can have their source traced back to God or the unity (Scott 14).

Interior monologues are also manipulated to express a feeling of unity of all things. The inability

to attribute interior monologues to any specific characters give the audience the feeling that

Li 2

thoughts expressed from interior monologues represent the mind sets of all of the characters

(Pippin 252). Thus, the sharing of interior monologues among the characters conveys a sense of

unity. Specific interior monologues spoken by a dead Japanese soldier to Witt (Pippin 273)

transcend the human boundaries of friends and foes to reach the ultimate unity of all things.

Furthermore, the apparent interior monologue spoken by Train confuses the audience because

Train does not seem to possess such ability to think deeply (Pippin 258). The apparent paradox

confirms the concept that even Train, who mostly made banal remarks, can express wisdom

when he becomes part of the unity. It can be further explained that since the interior monologues

are not related to any particular events in the film, the interior monologues are expressing the

theme of unity for the entire film as a whole (Pippin 269). Symbolism of Transcendence can be

found when Witt indiscriminately treats both the Japanese and American soldiers with kindness

(Stroud 4). Thus, Witt transcends his worldly situations and selflessly acts on behalf of the unity.

In addition, Witt is able to immerse himself in the memories of his past life while under heavy

enemy fire (Stroud 5). Acoustic elements are also used to reflect transcendence, such as Witt’s

voiceover on how the death of a bird can be seen as a sign of imminent transcendence rather than

the decay of fleshly body (Davies 69). This demonstrates that Witt has transcended from his own

suffering and his perception of time and space into his ultimate self as the unity. Witt’s mind is

able to go back in time to the realm of his memory when the contemporary situation requires him

to focus on surviving his present (Stroud 5). Transcendence was also reflected from the tactility

and olfactory senses created by special use of cinematic techniques (Davies 71). In addition, the

film narrative itself symbolizes transcendence (Davies 66). The relationships between Witt and

Welsh also demonstrated the unity of opposite personalities (Scott 13). The impact that Witt had

on Welsh after he died is that Welsh also desired to become part of the unity.

Li 3

Visual elements are used by Terrence Malick to suggest a unity of nature, human and

everything else. In an essay to explain the metaphysics of Terrence Malick’s The Thin Red Line,

Tom Whalen commented on the director’s use of beautiful scenes to express unity. Tom Whalen

described scenes of “giant trees, entwined limbs and light on leaves” (Whalen 163) from The

Thin Red Line as Terrence Malick’s attempt to represent nature. According to Tom Whalen, the

visual beauty of the natural aspects are figuratively shouting “… Within me is you and you are

within me … I am your Destiny … I, too, am separated from myself. I, too, am at war with life

and death and the ineffable beyond” (Whalen 163). Tom Whalen believes the visual beauty of

the scenes to be different pieces and parts of the same unity. Thus, even nature is only a part of

the whole. Nature by itself is not the whole because it is also experiencing life and death. The

definition of the unity seems to be something that is eternal, so anything that changes must have

been a part of the unity that separated from the whole.

Furthermore, Scott Strout also commented on the director’s use of beautiful scenes to

express unity in an essay on Rhetorical Transcendence and Perennial Philosophy. Scott Strout,

using ideas from Bhagavad Gita, explains in one of the final tranquil scenes of the film that has

coconuts sprouts on the beach of an island with a background of the sky is arguing that there is a

larger existence outside of humanity’s physical world (Stroud 5). The coconuts represent human

beings, and the beach, island and the sky represent a much larger existence as the ultimate

belonging. He also explains that just as the coconut trees in many scenes stand on the edge of the

island, humanity stands itself away from the ultimate self, which is the unity (Stroud 6). Mark

Scott explains that scenes of light breaking through tree tops and wind blowing through grasses

are reflecting the source of its beauty, God or the unity (Scott 14). God can be interpreted as the

ultimate unity from a perennial philosophical perspective. Mark Scott specifically said that one

Li 4

of the characters, Witt, sees transcendence from the scenes of natural beauty around the soldiers

(Stroud 10). Scott Strout explains from a Hinduistic perspective and Mark Scott explains from a

Christian perspective. Yet, the concept of unity from beautiful sceneries can be observed and

identified from both religious perspectives. So, Terrence Malick really must have been trying to

imply the concept of unity from beautiful scenes if the same message can be seen from different

points of view.

Robert Pippin pointed out the use of interior monologues by the director to convey a

sense of unity in his essay on the vernacular metaphysics of The Thin Red Line. Robert Pippin

explains how sometimes it is impossible to tell who is actually doing the interior monologues, so

it makes the audience feel like any of the character could have been speaking it (Pippin 252).

Thus, the feeling that any character could have been doing the interior monologue gives a sense

of unity within the soldiers. Rober Pippin especially pointed out that the character Train clearly

voiced over a visual monologue contemplated by Bell, another character (Pippin 252). Thus, the

director does not attribute any thoughts and voices to any particular person. Rather, the director

attributes the thoughts and voices to all the characters and the entire crew. In fact, Robert Pippin

specifically said that interior monologues could be shared by and visited by any character (Pippin

252).

Robert Pippin further expands on his idea by explaining that the interior monologues do

not limit to single characters and also do not limit to single events (Pippin 253). Robert Pippin

describes Welsh’s interior monologues on soldiers whom are like moving boxes that are trapped

inside and isolated reflect how he feels about not being connected with the greater whole or unity

(Pippin 253). Robert Pippin points out that the words spoken by the dead Japanese soldier to

Witt also reflects that even opposing forces can connect in unity through the expression of

Li 5

thoughts of the greater interior monologue (Pippin 273). Robert Pippin referred to Stanley Cavell

to explain how the soldiers actually needed a “vernacular orientation within the whole” (Pippin

269). This vernacular orientation can be understood as the general desire and states of minds of

all of the characters expressed by each of the interior monologues, and each desires and states of

minds add up to the unity of nature, human beings, space and time.

Robert Pippin also explains their interior monologue about the one big soul and each

person is like a coal drawn from fire (Pippin 268). To further elaborate, Robert Pippin describes

that the last interior monologue of the film may have be spoken by Train (Pippin 258). Robert

Pippin further elaborates that although Train had made a lot of banal remarks throughout the

film, Train might have been the person speaking the analogies that are clearly well thought

(Pippin 258). This further demonstrates that voices and thoughts can be attributed to any single

character and even Train is able to express so much wisdom in the context of belonging in the

unity. Robert Pippin also clearly accredits Train’s own soul as the World-Soul (Pippin 274). In

addition, Ian-Malcolm Rijsdijk says that voice overs usually reflect the theme of films. In this

case, interior monologues of The Thin Red Line reflect the theme of the unity of all things

(Rijsdijk 52).

Symbolism of transcendence is seen throughout the film, and the concept of unity of all

things is part of transcendentalism. Scott Stroud commented on the use of symbolism of

transcendence by Terrence Malick to convey the message of the unity of all things in his essay

on Rhetorical Transcendence and Perennial Philosophy. Scott Stroud pointed out the character,

Witt, was nice to both the American soldiers and the Japanese soldiers (Stroud 4). Witt’s

indiscriminate treatment of the Japanese soldiers and the American soldiers transcended human

boundaries, and Witt’s indiscrimination implied a sense of unity of the Japanese and American.

Li 6

Witt’s effort to help the wounded shows his selflessness and his detachment from his empirical

self to the ultimate self or the unity. Scott Stroud specifically described that Witt was able to

transcend the dimensions and concepts of friends and foe (Stroud 5). Scott Stroud also described

that while he was under the rain of enemy fire, Witt was able to remember his life and float

mindlessly in his memories (Stroud 5). So, Witt was able to let go of his individual situations and

transcend the illusory world / individuated world to reach the ultimate self and come to unity.

Not only do Witt’s actions and psychological activities symbolize transcendence,

acoustic representations of transcendence also serve to reflect the central philosophies of the

film. David Davies, too, commented on the use of symbolism of transcendence by Terrence

Malick to convey the message of the unity of all things in his essay on vision, touch and

embodiment. The sounds of rushing water, exotic birds and animals and winds blowing through

the grass are significant in their reflectance of the transcending beauty of the much larger

existence and belonging (Davies 69). Furthermore, soundtracks with respectively related themes

in the film also reflect transcendence (Davies 69). Witt’s voiceover on how people with different

perspectives can perceive the death of a bird differently reflects Witt’s transcendence from his

physical surroundings (Davies 73). The voiceover is specifically: “One man looks at a dying bird

and thinks there’s nothing but unanswered pain—that death’s got the final word. It’s laughin’ at

them. Another man sees that same bird—and feels the glory—feels something smiling through”

(Malick). Witt’s ability to see the bird’s death as entering the kingdom of heavens reflects that he

has completely made his own suffering in his physical world irrelevant to his spiritual existence.

David Davies further points out that Malick’s natural scenes not only convey a sense of

visual beauty but also gives the audience senses of tactility and olfactory through Malick’s

brilliant cinematic techniques (Davies 71). Audience can feel the tactility of the film when Witt

Li 7

indiscriminately touches his comrades, enemies and strangers on the Melanesian island (Davies

71). Witt specifically touches a mother on the Melanesian island, a terrified Japanese prisoner,

his comrades and Hill 210 and a local guide from the Melanesian island as signs of Witt’s unity

with everyone (Davies 71). Witt also specifically says that he sees another world in his

conversation with Welsh during the interrogation scene, and this other world is referring to the

world of ultimate unity (Davies 74). The fact that Witt sees another world also implies Witt’s

transcendence from the world at war. Furthermore, David Davies specifically says that Malick’s

narrative aligns the film with American Transcendentalism (Davies 66). In other words, the

film’s narrative is a symbol of the theme of transcendence. In addition, the use of voiceover is

symbolism of transcendence because most of the voiceovers refer to “one big soul” and “one

self” (Davies 66).

Robert Pippin implies in his essay that there were many scenes at the very end of the film

that were not for aesthetic purposes (Pippin 275). The final scenes were examples of humans,

animals and plants. These scenes are irrelevant to the battles depicted in the majority part of the

film. Thus, the irrelevant scenes reflect transcendence from the situation of the world at war to a

higher tranquil existence and belonging. Director Malick placed these irrelevant scenes at the end

of the film to ask the audience about the deeper meaning of the film. The director is also asking

the audience to add up the pieces of information from scenes and voice overs to arrive at the

conclusion implied by the film, which is that entities and objects may seem separate but are

actually in unity. Robert Pippin particularly says that the film ends by questioning the audience

of what they have seen (Pippin 275). Robert Pippin, Scott Stroud and David Davies all have

successfully demonstrated that observant audiences can find traces of transcendentalism and the

unity of all things throughout the films.

Li 8

Mark Scott commented on the use of the development of the characters’ relationships to

demonstrate the unity of all things in his essay on the problem of evil. Mark Scott explains that

the characters Welsh and Witt have contradicting world views, but they are able to learn from

each other and to some degree convince each other of their own ways of living in times of war

(Scott 13). Furthermore, Witt and Welsh are able to develop a deep friendship despite their

differences in beliefs and roles (Scott 13). Witt was able to ignite a figurative spark in Welsh

after dying (Scott 12). The spark is the will to become united with the bigger whole. Although

Witt as the character who was demonstrating transcendence died, his will to become united with

the greater whole did not die. Witt’s will to become united with the greater whole survived in

Welsh’s heart as Welsh thinks to himself as to where the spark Witt had talked about went.

Welsh specifically said in the film: “If I never meet you in this world, let me feel the lack. One

look from your eyes and my life will be yours” (Malick). Although Welsh still does not see the

transcendental beauty among the chaos surrounding him, he at least manages to be aware of his

lack of connection with his ultimate self as the unity. Welsh is able to have a complete

transformation from holding a world view of nihilistic materialism to having Witt’s aesthetic

transcendentalism. Welsh’s world view of nihilistic materialism is that there is only one world,

and it is the world at war (Scott 10). This world view also states that one person’s life is

insignificant in the context of the grandeur scale of millions of soldiers battling each other (Scott

10). His formation of the nihilistic materialism perspective is due to the fact that his vision to see

transcendental beauty was impaired by the bloodshed that he has seen (Scott 11). Witt’s aesthetic

transcendentalism is his ability to look up at the moon and celestial stars while his physical body

is trapped in the interrogation room (Scott 10). The aesthetic transcendentalism is appreciating

the beautiful environments in which battles take place even when one’s own life is at risk (Scott

Li 9

11). So, Welsh’s complete reversal in his world view is itself a symbolism that Witt’s aesthetic

world view has transcended Welsh’s nihilistic materialism world view. Welsh is in fact searching

for the transcendental light and spark that Witt had talked about, so Welsh is also starting to want

to become a part of the unity as Witt did. David Davies also acknowledged Welsh’s

transformation from not desiring for transcendence into asking for a connection with the super

natural power (Davies 75). Thus, both David Davies and Mark Scott acknowledged the dynamic

of the relationship between Welsh and Witt as a reflection of the unity of even the most

contradicting perspectives.

Visual beauty, interior monologues, symbolism of transcendentalism and the characters’

inter-relationships are used by Terrence Malick in The Thin Red Line to convey a sense of unity

of all things. In The Thin Red Line, animals, plants, human beings, space and time are

transcended by the manifestations of war to a greater existence: the unity of all things. However,

the director also implies the same concept of transcendence and unity to all of humanity in the

modern era. Human and nature should work to live harmoniously within and among each other

to reflect their true state of existence: the ultimate unity with the whole. In addition, a further

implication is that people of all professions and colors can work toward a common goal.

Conflicts that are going on currently in Syria, Iraq and around Israel can also find teachings from

the film to be useful. A perennial philosophy of unity among all religions can be used in the

Middle East to settle different factions of the same Islamic religion and between Islam and

Judaism. A perennial philosophy can especially find value in the U.S. because the country is a

melting pot of ethnicities from every corner of the globe. This is because the freedom of belief in

the U.S. presents itself a dilemma where unity is weak due to the different beliefs. The U.S. can

Li 10

present itself as the unity of all people, beliefs and nations, and as an ultimate place of belonging

where every soul that seeks freedom wants to pursue.

According to evolution, all life forms on earth originated from a single ancestor. The

various life forms did separate from the common ancestor composed of the essential elements of

carbon, oxygen, hydrogen, nitrogen and others. From a scientific perspective, all life separated

from a single entity a long time ago. According to some common knowledge of modern physics,

the universe was expanded rapidly from nothing and sprang into existence as what is called a

“singularity.” This “singularity” can be interpreted as the unity that gave birth to everything else.

Furthermore, the Bhagavad Gita, an ancient Hindu text, explains the materialistic universe and

its inhabitants as illusions of the true self in the form of spirits (Stroud 3). In other words, the

universe that we inhabit in is the manifestation of the true self, not the reality of the true self. The

reality of the true self is the unity of all things: parallel universes, space and time. Thus, can we

as individuals living in our own individually defined situations and environments interpret the

material universe to be a grand illusion that broke off from our true self of unity? Are all life

forms entities of individual spirits that wondered away from the enlightenment that our true self

is the unity? Can we find it practical in everyday life to be self-aware of the unity as a formless

concept that marks the origin of everything? Can we postulate that humanity’s wide varieties of

beliefs, philosophies and world views to be “different features of the same face” (Malick),

distinct versions of the same story? Can we try to comprehend the different beliefs, philosophies

and world views to be the same truth contemplated from divergent perspectives and the identical

verity explained by varying cultures? Just as the paradox that the warring state of the world

depicted by the film can give hints of transcendentalism and unity, our current world can also try

Li 11

to find transcendental beauty from the hypocrisy and evil of world politics and to seek resolve

for the many neglected struggles that today’s society faces.

Li 12

Works Cited

Barnett, Christopher B. Theology and the Films of Terrence Malick. Place of Publication

Not Identified: Routledge, 2016. Print.

Davies, David. The Thin Red Line. London: Routledge, 2009. Print.

Pippin, Robert. Vernacular Metaphysics: On Terrence Malick's 'The Thin Red Line'.

Critical Inquiry 39.2 (2013): 247-275. Philosopher's Index. Web. 3 May 2016.

Rijsdijk, Ian-Malcolm. Apprehending Beauty. Film-Philosophy 10.1 (2006): 46-54. MLA

International Bibliography. Web. 3 May 2016.

Stroud, Scott R. Rhetorical Transcendence Revisited: The "Thin Red Line" As Perennial

Philosophy. n.p.: 2001. ERIC. Web. 3 May 2016.

The Thin Red Line. Dir. Terrence Malick. Phoenix Pictures/Fox 2000, 1998.

Whalen, Tom. The Thin Red Line. Literature Film Quarterly 27.3 (1999): 162. Academic

Search Complete. Web. 3 May 2016.