Editing Full Metal Jacket (section)

==Themes==
[[File:Born to Kill helmet.jpg|thumb|upright 0.7|Helmet prop from the film]]

Michael Pursell's essay "''Full Metal Jacket'': The Unravelling of Patriarchy" (1988) was an early, in-depth consideration of the film's two-part structure and its criticism of masculinity. Pursell wrote that the film shows "war and pornography as facets of the same system".<ref>{{cite journal|last=Pursell|first=Michael|title=''Full Metal Jacket'': The Unravelling of Patriarchy|journal=Literature/Film Quarterly|year=1988|volume=16|issue=4|pages=324}}</ref>

Many reviewers praised the military [[brainwashing]] themes in the boot-camp portion of the film while viewing the film's second half as more confusing and disjointed. Rita Kempley of ''[[The Washington Post]]'' wrote, "it's as if they borrowed bits of every war movie to make this eclectic finale."<ref name="Kempley" /> [[Roger Ebert]] saw the film as an attempt to tell a story of individual characters and the war's effects on them. According to Ebert, the result is a shapeless film that feels "more like a book of short stories than a novel".<ref name="Ebert" /> Julian Rice, in his book ''Kubrick's Hope'' (2008), saw the second part of the film as a continuation of Joker's psychic journey in his attempt to understand human evil.<ref name="JulianRice" />

Tony Lucia, in his 1987 review of ''Full Metal Jacket'' for the ''Reading Eagle'', examined the themes of Kubrick's career, suggesting "the unifying element may be the ordinary man dwarfed by situations too vast and imposing to handle". Lucia refers to the "military mentality" in this film and also said the theme covers "a man testing himself against his own limitations", and concluded: "''Full Metal Jacket'' is the latest chapter in an ongoing movie which is not merely a comment on our time or a time past, but on something that reaches beyond."<ref>{{cite news|last=Lucia|first=Tony|date=July 5, 1987|title='Full Metal Jacket' takes deadly aim at the war makers|url=https://news.google.com/newspapers?nid=1955&dat=19870705&id=__khAAAAIBAJ&pg=4108,3337251|format=Review|newspaper=Reading Eagle|location=Reading, Pennsylvania|access-date=March 23, 2014|archive-date=May 5, 2021|archive-url=https://web.archive.org/web/20210505021321/https://news.google.com/newspapers?nid=1955&dat=19870705&id=__khAAAAIBAJ&pg=4108%2C3337251|url-status=live}}</ref>

British critic [[Gilbert Adair]] wrote, "Kubrick's approach to language has always been reductive and uncompromisingly deterministic in nature. He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all the whims, shades and modulations of personal expression."{{sfn|Baxter|1997|p=10}}

Michael Herr wrote of his work on the screenplay, "The substance was single-minded, the old and always serious problem of how you put into a film or a book the living, behaving presence of what [[Carl Jung|Jung]] called [[Shadow (psychology)|the shadow]], the most accessible of [[archetype]]s, and the easiest to experience&nbsp;... War is the ultimate field of Shadow-activity, where all of its other activities lead you. As they expressed it in Vietnam, 'Yea, though I walk through the Valley of the Shadow of Death, I will fear no Evil, for I {{em|am}} the Evil'."{{sfn|Baxter|1997|p=11}}