The success of 1982’s First Blood created a genre of its own: films with Chuck Norris and David Carradine brought post-Vietnam America back to the stage, revisiting history, and screwing things up.
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On April 30, 1975, North Vietnamese forces captured Saigon, ending the war in Vietnam. But less than a decade later, the war would begin again on another front: the movie screen. It’s hard to pinpoint when or where the first shots were fired, but it’s easy to say that the 1982 fight outside Hope, Washington, was a provocation. The battle depicted in the 1982 film
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, a diminutive, abusive vet pits the sheriff against former Medal of Honor winner John Rambo (played by Sylvester Stallone), a Green Beret, who pushes himself too far. By the end of the decade, an army of heavily armed muscle had returned to Southeast Asia to deal with the unfinished business of the war, losing America and leaving what it had left behind, hostilities escalated and intensified. At least it can be done on film with a determined, grim face and an endless supply of weapons.
Far from the first troubled, violent Vietnam vet to hit the big screen, Rambo is deeply,
. Instead of portraying a returning America vet who can’t adjust, he accuses America of not paying enough attention to its war veterans, and Rambo drives it home with a mix of (intentionally non-lethal) attacks and passionate attacks. monologue. . Adapted from a 1972 novel by David Morrell and directed by Canada’s Ted Kotcheff, this is indefinable.
, critic J. Hoberman notes that Rambo “could be read as a swindler, a hippie, an Indian, and an anti-American guerrilla (ie Vietnam) war hero.” First and foremost, Rambo is a tribute to all the people back in America who fought in the Vietnam War and worked hard to forget about it.
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Politics were central themes in the film, dealing with the POW/MIA issue and the widespread belief that American soldiers survived and were imprisoned in Vietnam and elsewhere in Southeast Asia years after the war ended. Less Virtuous Reads: This movie uses painful subject matter in the service of a crowd-pleasing action movie. In both cases,
Gene Hackman stars as Jason Rhodes, a retired Marine colonel who recruits Vietnam vets (and a young Patrick Swayze) on a mission to Laos, where Rhodes believes his son and others are imprisoned. The idea didn’t come out of nowhere: The prospect of American soldiers being trapped behind enemy lines became a complicated issue in the early 1980s under former Green Beret “Bo” Gritz, who knew Americans were still being held. At War Camp, they made several raids into Laos. Gritz had a gift for self-promotion. However, he was much less likely to find and bring home evidence of living captives. Rhodes, on the other hand, succeeds enormously in war movies expertly directed in familiar-guy mode. Critics were dismayed by his policies, but remained wary. Second
, Gene Siskel noted that audiences, especially Vietnam vets, felt the film was watching. “It’s nice,” continued his review. “I’m sure his film must have been so bitter that it allowed them to throw it away. But I think I liked the idea of this movie more than the execution. A more serious and complex treatment of the subject may strike everyone.
Enter Chuck Norris as if he were dealing with the least serious and most difficult subject imaginable. As the oft-repeated and difficult-to-verify story suggests, Cannon Films, a major source of low-budget films in the 1980s, rushed both.
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, Michael Lee Lanning devotes a chapter to the “superhero genre” of Vietnam films. Lanning, a retired U.S. Army lieutenant colonel who served in Vietnam, has little tolerance for films that portray war in an unrealistic way. (His poignant observation
Synopsis: “Anyone who believes that Brando and his men hang bodies and body parts around their camp has never smelled the smell of a ripe corpse on a hot Southeast Asian afternoon.”) The superhero soldier has much older roots.
, but it was John Rambo who Norris and others defined the extreme genre in comic books.
In the 1980s, the U.S. government tried to negotiate with Vietnam, so it stopped retiring.
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Colonel James Braddock’s protagonist is tasked with going after the enemy and rescuing the prisoners there. He succeeds and returns to Ho Chi Minh City in time to impress skeptical US leaders and humiliate a taunting Vietnamese general. “Until America is heroless again
” trailer, as Norris emerges from the water with a huge gun in hand, a scene repeated in many of the Vietnam action films that followed.
Cannon seems to understand how an action hero can be a salve in the national psyche. Released in November 1984.
, was a prequel to the film, but was considered inferior to the intended sequel. The former grossed nearly $23 million on a budget of $1.5-3 million, while the latter grossed nearly $11 million on the same budget. In fact, it became a concentration camp
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Slightly higher and emphasizes the scene in Norris’s head fighting a rat in a sack. (Both films are better than 1988
It sends Norris’ character on a quest to find his as-yet-unmentioned Vietnamese wife and tackles the real issue of Vietnamese children fathered by American soldiers in the most exploitative way). junior novel; However, their success was a harbinger of things to come.
John Rambo follows in the footsteps of Braddock and rescues American POWs from the Vietnamese, which can be heard not only at the box office, but also in the opinion pages. Within a week of the film’s release
“The Myth of the Missing POWs,” an essay by longtime diplomat James Rosenthal, offers a compelling argument against finding American POWs alive in Southeast Asia, “condemning the exploitation of hopeful families by politicians, publishers, filmmakers, and lawyers.” , to seek profit. This is the reality. Instead, the audience opted for fantasy, which Stallone asked, “Can we win this time?” After asking the question, he chose the unprecedented fantasy of being allowed to return to Vietnam. shirtless and strapped to his rifle, taking out his frustrations on the Vietnamese soldiers, Russia’s allies,
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He found that the American government had no interest in seeing his mission succeed. When we won, how important was the truth about America’s failure, or the fact that more than 100,000 Vietnamese civilians died as a result of the war?
It may not have changed the outcome of Vietnam, but it opened the country up to action movies in the years to come, movies that sent Rambos back to war, both now and in the past. They came from all over the world through films made for American, Italian and Filipino production companies and traveled to different countries representing Vietnam: Spain, Zimbabwe, but mostly the Philippines. (Anyone who was in the business of hiring helicopters and guns to film around Manila in the 1980s probably did pretty well.) They were men of few words and many arrows, and ”they left a deep mark on the second half of 2018. 80s.
David Carradine was cast as Braddock, a renegade soldier who organizes a raid on a prison camp during the 1973 Paris peace talks.
To land on video shelves and fill late-night cable programming blocks will appeal to those who have already seen Rambo in action and want more. There he found many friendships, from idiots to inventors.
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Reb Brown as Michael Ransom. (If Rambo was the subgenre’s Coca-Cola and Braddock was the Pepsi, think of Ransom as RC Cola.) A virtual army of one man, Ransom kills scores of enemy soldiers while trying to escort a village safe. Along the way, he battles powerful Russia and tries to comfort a dying boy by tearfully telling him about the wonders of Disneyland. (“They have tons of popcorn. You just have to climb a tree to eat it.”)
Its essential formula: a man with a gun, a maudlin sentimentality, and a soothing scene of explosive anti-Communist violence.
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