Paul Verhoeven, “Starship Troopers” (1997)
Loosely adapted from the Robert Heinlein novel of the same name, this film can be read as a caricature on several fronts: a send-up of the American cultural obsession with war on whatever US politicians declare war on; a satire on emergent US-styled fascism with its fetish for military technology, media sound-bites, slogans and appeals to patriotism; and a laugh at Hollywood action and war genre movies, Hollywood movie conventions and Hollywood’s own love affair with the military. Cunningly disguised as a brain-dead B-grade sci-fi “Alien” rip-off with a squeaky-clean cast of wooden though handsome actors, heavy slapstick symbolism and a meandering stitched-together plot that wanders through scenes of excessive gore, “Starship Troopers” cleverly combines action, romance and even high school hi-jinx through the eyes of its two main characters Johnny Rico (Caspar van Dien) and Carmen (Denise Richards) as they sally through their cartoon adventures in space and on an alien planet in service to the Federation, dedicating their lives to fighting bloodthirsty hordes of giant Arachnids and their arthropod allies.
The film divides into three parts: the first part is familiar all-American high school romance drama as Rico is torn between Carmen and Dizzy (Dina Meyer), Carmen is torn between Rico and Balcarow (Patrick Muldoon), and Rico is in friendly competition with Carl (Neil Patrick Harris); the second part sees Rico in boot camp training under various sociopathic instructors (Clancy Brown and Michael Ironside knowingly playing their parts straight-faced for laughs) to enter an elite mobile infantry unit while Carmen and Balcarow undertake pilot training and become close; and the third part throws our old high school crowd into the thick of fighting against the Arachnid armies, scathingly referred to as “bugs”. Interspersed into the film at intervals are propaganda shorts and news reels shaped as advertisements appealing for more youth to join the Federation armies and fight the “bugs”. Constant repetition of slogans like “I’m doing my part!” and “Would you like to know more?” – in a context where people don’t have a choice to say “No, I DON’T want to know more!” – cleverly and subtly inveigles both characters and viewers into supporting an ongoing war conducted by a future society that cynically throws hundreds of thousands of young people into a war like so many disposable cheap robots with inadequate gunpower. At one point in the film, a character breaks the fourth wall (that is, knowingly faces viewers) while hyping up soldiers to charge forth into battle against the bugs.
Many serious issues are addressed in the film in a light-hearted way: the preparation of young people through contact sports like football for military life; the glorification of violence through televised executions and the deliberate gore pornography; a culture brainwashing its young people to choose a military career and forcing them to die if they wish to enjoy the full benefits of citizenship; the incredulity of armchair experts and commentators that the bugs might have feelings and emotions and deserve to be treated with respect; and the government’s exploitation of fear, both human and bug, for military purposes and to control citizens and civilians (those who eschew the military life and so can’t be citizens but must be treated as hoi polloi consumers) alike. The futility of war and the cynicism of a society that uses war to control people are expressed in scenes in which soldiers are thrown straight into action after a few months of brutal boot-camp training armed with rifles that waste kah-zillions of bullets to no effect against the bugs even though better weapons like shoulder-held nuclear-powered rocket-launchers are available. After all, if you really want to get rid of the bugs rather than waste the humans which I suspect is the fascist society’s way of coping with over-population on Earth, why not just use a fleet of combat fighter jets to spray entire valleys and cave systems with chemicals that ignite on contact with living things and fry-y-y everything? It’s not as if the Federation cares about the bug planet’s environment and ecosystems.
The film itself is made in a style reminiscent of classic Hollywood action or drama films with lovingly filmed open spaces and swelling heroic orchestral music. The main characters are young, beautiful and buff with square jaws and clear eyes, and they’re clean-cut all-American Aryans though they play characters from Buenos Aires in Argentina (where Adolf Hitler is rumoured to have found sanctuary after WW2 instead of committing suicide): obviously this is a future BA that’s long succumbed to the seductions of whatever passes for future American or British culture – any differences between two sets of lowest common cultural denominators being hardly moot – and the English language. Jorge Luis Borges, Adolfo Bioy Casares and Carlos Gardel are spinning in their graves. Hollywood conventions are sent up in hilarious fashion: the film lovingly feasts viewers’ eyes on scenes of gore and gratuitous bloodshed but coyly blacks out scenes that might suggest sexual intercourse. The film apparently borrows many elements from Leni Riefenstahl’s famous Nazi propaganda documentary “Triumph of the Will”, a film I have yet to see in full. The grey uniforms and black leather coats worn in “Starship Troopers” look as though they were borrowed straight from a war museum housing Nazi German memorabilia. Special effects and scenes of space flight are often astonishingly well-done and even beautiful for a purported B-grade sci-fi flick; there are also of course schlocky scenes in which soldiers revel in pounding the bugs and getting sprayed with lime-green or day-glo orange bug blood as though they were merely playing paintball.
The film does drag during the long third section of the movie set on the bug planet as the plot bounces from one comedy skit to another. Viewers are cleverly set up for the climactic moment when the bugs obtain information about humans by drinking someone’s brain through a proboscis straw – at least some characters here know their manners! A refreshing change from most schmaltzy endings typical of Hollywood films is that once the dust has settled and the humans begin the job of obtaining information from a captured smart bug through torture, Rico and Carmen grimly continue their chosen vocations rather than sink into each other’s arms and this conclusion in itself is a comment on how fascist societies that constantly mine fear, suspicion and war to control people end up dehumanising them.
Surprisingly the film has become more relevant since the plane attacks on the World Trade Centers in 2001, with the bugs standing in for Iraqis, Afghans and Libyans. As long as the United States and its allies rampage all over the planet trying to kill more “bugs”, leaving destruction, pollution and DU radiation in their wake, we will need more eye candy satire like “Starship Troopers”.