The Role of Sound in The Thin Red Line

Terrence Malick attempts to recreate a part of the war in the pacific on screen through the use of a variety of techniques in The Thin Red Line (1998). One of the most prevalent of these techniques is the use of sound in the movie. Unlike the majority of war movies this movie doesn’t feature a soundtrack that glorifies the battle scenes. The presence of periodic narration and a focus on natural sounds like wind and water moving across the landscape also set this film apart. These audio features combine flawlessly with video to create a very deep and seemingly realistic depiction of the horrors of war.
There is little, if any, soundtrack in the intense scenes of battle. This stands out in contrast to the blockbuster action flicks that portray intense action as thrilling and exciting with high tempo musical scores. By creating this contrast with typical action movies Malick lets the audience know that this movie should not go down the same way as the latest Rambo movie does. When a musical soundtrack is present it is often sad and low or it is associated with the environment of the film, such as native islanders singing or sticks drumming against one another. The toned-down soundtrack gives the movie a more authentic feel. The musical soundtrack is most lighthearted when Pvt. Witt is with the natives, separated from the army and civilization. Malick also uses the soundtrack to highlight shifts in emotional scenes. An excellent example of this is the way the tone of the music changes from low and ominous to a higher pitch the instant Capt. Staros refuses to obey 1st Sgt. Welsh’s order to go up the hill directly. The change in the tone of the soundtrack here creates a sense that refusing the order is the right thing to do. The shift represents a relief from the tension built up by the dialogue and ominous soundtrack before it