From Draft NOtices, April - June 2006
— Michelle Gutiérrez
I recently viewed British director Sam Mendes’s 2005 film, Jarhead. Based on former Marine Anthony Swofford’s Gulf War memoir, the film depicts the experiences of United States soldiers. The film’s subject matter has a limited scope, but among post-Vietnam war movies (such as The Three Kings in 1999 and Black Hawk Down in 2001), Jarhead presents the most stinging critique of the effects of U.S. military culture on soldiers. By exposing the disillusionment of military life, soldiers’ lack of agency, and rampant homophobia and misogyny, Jarhead is the first film to lay bare the destructiveness of military culture since Stanley Kubrick’s Full Metal Jacket in 1987. However, the filmmakers’ stance on the Gulf War and many problematic aspects of military training are portrayed ambiguously.
Mendes centers the film primarily on soldiers’ psychological wellbeing. The film begins and ends on this theme with a voiceover from Swofford stating, “A man fires a rifle for many years and he goes to war, and afterward he turns in the rifle to the armory and he believes he is finished with the rifle. But no matter what else he might do with his hands -- love a woman, build a house, change his son’s diaper -- his hands remember the rifle.” By encapsulating the film with this statement, Mendes communicates not only the long-lasting impact military training and war have on soldiers’ lives, but also the fact that soldiers are “regular” men who have jobs, wives, and children. Clearly, the constant harassment, teasing, and abuse by sergeants has a much more striking effect with this backdrop.






