Spogliarello Di Milena Velba

you are absolutely unlucky. From the beginning they had no luck - to be born, how they were born. It goes without saying that their parents have driven them, because she could not imagine that one should raise a child with ICP, dementia or autism.
They came in a boarding school for children - a children's home to the claim or tears. Those have the good fortune to be visited by their parents, mainly on religious holidays, in the ideal case even in a few weeks so the children can be fed from the hand (some mothers who have given their children in the boarding school, get a job there later) .
Around the age of 18 she will be moved to a boarding school for adults where they live for a while and die, forever 40 years old and yet 40 years of age and never grew old. Her whole life is a currency out of the biological death.
you are deprived of fundamental rights, their freedom is limited by virtue of psychiatric diagnosis. They have the same needs as all of us - healthy Ernäherung, medicine, humane treatment, care, communication, artistic self-expression, development, education, participation. All of which they are deprived only because they were not born like everyone else.
your oppression, begins with the main point - of physiology. What it means to be dependent in all things from another person if it hurts, because you have to relieve himself, the keeper is not?
€ Psycho Logical boarding schools are reservoirs, whereas removing the dregs of society from view by collecting all of the highest concentration, which differs from the norm - for the control is the most comfortable. It is quieter - why destroy the illusion of general well-being by the sight of maimed and spasties? What the noise because that one is left over, interrupt concerned that there are people to whom it is incomparably worse?
Most psychiatric patients are not able to harm themselves or other people. Whence this absolute requirement to remove them from the streets to remove from society to expel from the family to isolate the confined space, after all possibility of contact with the outside world, is to develop and Reabilitierung necessary to destroy has? The isolation destroyed for us to communicate the so-called "normal", the possibility with them. And it is a very different world - the clash with it, the safety of their own normality and of your own well-being, but also of normalcy and well-being of society undermined these people condemned torture to solely to the working condition of the mechanism to support the restoration of psychiatric standard.
The committee of human material is not for the survival of the society. Asylums and other places of safekeeping to be produced by a company which does not differ largely from an insane asylum. It falls easily into pieces when the law refers to the segregation does not apply: For young people, schools for young men, the army, for all other offices and factories, and a dignified life accounts serve the senior citizens homes, and those who can not forming, are collected in colonies, asylums and prisons. If the company prevail in alienation, anonymity and indifference and the people in reality nothing connects, there is nothing left, when all sort of artificially clusters.
The experience of contact with people with mental and physical characteristics can be normal in our Question. Their bases appear as very shaky. If what we mean by standard, endless rat race, the senseless consummation of people and property, in a carefully suppressed fear of death, followed by the obsession with youth, anonymity and social isolation by maximum Gelangweiltsein, the fear of the other, caused by the inability to own basis to doubt, are, it becomes clear why it is necessary to people who do not live under these rules in a position to still further away to hide. They are too much people. Asylums mask the ruling in the society fear of the other curb, intolerance and serve the creation of an illusion the effect that all is well anyway. may face
The ratio of the state of the patient, not only in the case of mental illness, shows that these people viewed purely as a biological material which has a value only when it meet the required functions and reproduce. For used or defective human material is waste, which can also behave accordingly - as they can rot. The suffering of
housed in psycho logical € boarding people are the result of the indifference of every care of us and the general degradation of society that is not in a position to run for all its members. By their suffering is the lie of the ideas of a mental standard, were bought by stability and prosperity.
You come there and see you all this shit to - the stench, filth, moldy food, not enough clothes, no toiletries or basic drugs, indifference and stupidity of the staff. A gray, half-lit corridor and a long row of chairs endlang the wall.
And amid all this hopelessness are you suddenly find Gena, Sascha or Sergei, all the cruelty, regardless of the circumstances are, people stayed. There is no doubt so that they are real personalities, and many of us they can not run the water rich, in terms of emotional development. You can understand that human strengths are virtually unlimited, that humans adapt to virtually everything and keep under the most inhumane circumstances, it's genuine. Living people.
They have been deprived of the bare necessities, we have reduced the chance of development to an absolute minimum. But they have learned a lot. You can very much. You can create and smile, give joy to care for others, love and sincerity remains.
Many of their problems could be solved if a special equipment would be available, programs to correct people who would be ready and willing to work with people who are mentally ill. Your mental and physical degradation associated with this is that no one involved in the development of their facilities and the correction of their defects. They could fully integrate into society, because they would prove to be far more able to adapt than we do.
are many of us fully able to to provide for themselves, and came only because the boarding school because the parents are more easy to sacrifice his own child, as to endanger the illusion of a happy family.
We are so proud that we have achieved everything on their own to bring the sensation of mental and physical happiness forgot to rank the highest values and that we have established ourselves only so wonderful because it means that all conditions were in place or because we were lucky, we can train to develop your career. We do not know how many people there are who can not read and write - not because they are not able to, but simply because no one has taught them.
Each of us must remember that in support of our perception of normality and wellbeing, a mechanism for the Committee acts of human material, which insulates the unlucky people by society. And no one can predict who will be tomorrow are among the unfortunates. The feeling of Well-being seems all the more shaky when one is concerned about it, that is our life and the restrictions imposed by the Company values only banal scenery, behind which lies nothing.
So happy, isolated in his own asylum, we turn away at the sight of what offends our own ideas of physical and mental standards - not because it is an unpleasant sight, but because you are clear about the supernatural of their own situation and gets scared to get to the scene of these people. On the unconscious level of understanding is in place that exists between the support of our idea of normalcy and a direct link to their fate. The bottom line their isolation proves to be the only supporting evidence argument in favor of our normality.

children in Novinki http://flickr.com/photos/_ola/sets/72157594537563630/show/

SPUTNIK-2007 http://flickr. com / photos / _ola / show /

read more about sputnik http://kanikuli-ev.de

Drawings Of The Iron Giants Weapon Mode

include the moment the group of five artists: Oleg Mavromatti, Boryana Rossa, Anton Terziev, Katia Damianova, Miroslav Dimitrov.
focus the activities of the group both to work with latest technologies (Bioart, robotics, cryonics, nanotechnology, EPP) as well as metaphysical and archetypal (experimental, hermetic) activism. The participants in the study group, both collectively and individually, the taboo areas of life (science, religion, tradition, art, etc.).
One of the main themes of the group is monitoring the provoking of transgressive border situations Soziums dar. We feel a keen interest in the topic of the other, stranger has so
In the modern world, a true artist, the function of the feeble-minded (the Christian saints, the urban maniac Martyr, hero, dissidents) to take upon himself - that of a man who tells the truth and regardless of the consequences is, without claiming or to try to make a career (which has already become a synonym for artistic activity) of commercial not to mention ... The strategy of the new weak-minded is the almost traditional strategy of "classical" weak-minded with a few deviations from the declared temporary corrections and in particular from the work with the latest media and technology. In this way, the new weak-minded or Ultrafuturist differs from the classic by being out of seditious uncomfortable intellectual ideas and technological ideas in the society with which are not only for the ordinary people uncomfortable and incomprehensible, but also for the scientist ... If we hold that the prosecution is justified against the Ultrafuturisten Skandalösität premeditated, but no one has ever claimed otherwise! Yes, we are in the scandal and the media presence is interested, that this is the only and most effective way to position themselves. However, is this is not an attempt to public recognition, love, and gain popularity, which is simply absurd, for honesty (if we honestly say we do not miss the "intellectual Honesty "of political thinkers and atheists Nitzsche) can not in a society of lies, vice and injustice are popular. The presence in the media ensures albeit hidden resonance for the author, the Propagandierung to our ideas and views, our social, intellectual and artistic position is necessary.
postmodernist games we play? Yes and no. (We certainly have a postmodernist methodology, but not post-modern minds). If we define ourselves as a modern artist, we automatically get to the field of post-modernism. The term "postmodernism" is defined in fact except for a temporary period even nothing, and therefore inaccurate and unnecessary. The situation of post-modernism has not been abolished and is also impossible to abolish. In the nineties tried the sect of absolute love all the broader term of "absolute love" to introduce, just by virtue of its totality postmodernism and devoured abschuf. In the situation of absolute love, but it can not ever live and work, more precisely one would have the primacy of the artist on the philosophers, art historians, critics acknowledge that by definition could not be done. As a result, the concept has not taken hold. The second
postmodernism overcome so to speak Term of the third modern (introduced by the curator and ideologues Dmitry Bulatov), may also, unfortunately (!) Do not work because of post-modernism, not only or not so much the lack of innovation (directly to this factor calls Bulatov), but rather the total turning to the whole culture of the past, present and future (as it were, "google it", a slang word that the search means for something on the net) and consequently overcomes the Third Modernity, by insisting on the scientific revolution based innovation overcomes anything, but successfully inserted and fills already prepared by postmodernism Technological innovation gap from ... However
worth it to make some ethical and aesthetic "inner plastic Bewegkräfte" culture within the body of postmodernism itself carefully ... Soon the leaves as a replacement model of the "society of spectacle" by the "Society of the circus called. An example of this are two recent events: first
Tragedy "Northeast" (the "Company of the play" kills her actor)
second The Russian film "Countdown" is a reflection of Northeast (the "Company of the circus fun of the dead Clowns - the hostage-taking in the film from the theater to the circus moved !!!)...
Here it is important to the replacement of terror by the ridiculous to highlight the absurd (remember the endless gags with Bin Laden, Saddam, etc.) ... If the terrorists are just clowns, clowns, artists only, the believers only clowns, where there is serious then? In fact, the lack of serious practical field completely (intentionally kept hidden, like the death Koschchejs), it exists neither the Kremlin nor the White House, neither the church nor in the cemetery ... In the view of materialists, there it not at all, but from the perspective of the true believers it is visible, because it concentrated in the center of the abolished ", precisely in the" heart of the enemy "(" the heart of this world "by Pimenov)!
How to avoid being a clown in the center Abolished?
This is undoubtedly a very difficult task. Finally, the 'ejection in the Arena "is marked, the field of non-Ernthaften automatically the outcast as a clown ... The presence of a clear expression or lack of have no meaning, ie any form is just a Zirkusgag where the field is the expression and not vice versa, where a clown without a smile is the same as a smiling clown or not a clown .. . D. h. be what ever you do, you just have to be able to raise this at the next ridiculous number waiting audience laugh ...
At the material level is to overcome the Abolished center simply impossible! When the fateful time dawned a choice: to be blind and helpless, or looking to be and take the fight to the inferno! The effect of the ULTRA FUTURO is regarded primarily as a fight, wrapped in a visible level in the packaging of Contemporary Art.
ULTRA FUTURO's strategy and tactics of guerrilla ** metaphysical (metaphysical solidarity by Camus), which replaced the urban guerrilla ... Today, the discourse is left *** ineffective. It is through which was abolished center apropriierte discourse, but can not eliminate the metaphysical discourse, for he is the "power of creation," he is the only language of the new esoteric underground, the new ultra-weak sense, the language of radical transhumanist resistance!

Frequently Asked Questions.
first Is the group a religious sect ULTRA FUTURO?
second If one explains the aesthetics of pain, is it not time to grab the chainsaw?
third Can we not talking about the same not in a simple, understandable language without the "avant-garde"?
4th Who is your audience, to whom is it designed?
5th Do not repeat the things already in the sixties forties, seventies, etc. was made?
6th How long you can still talk about robots?
7th Why you should still repeat the actions with blood, after all, it is already predictable?
8th Who pays you?
9th If faith in God and the latest technologies compatible?

answers.
first The group ULTRA FUTURO is not a purely religious organization, but is based on the Gnostic Christian heritage, to the alchemical and metaphysical tradition. Virtue of which one must consider not only as ULTRA FUTURO Art group, but you have to identify them as a group, ARS MAGNA (translated GREAT ART - a term introduced by the Alchemist **** Ramon Llull), ie a synthetic many components and levels and structures. At the same time would be the reduction of ULTRA FUTURO on the status of a sect of a complete distortion of the meaning of terminology with the aim of disparaging and discrediting.
second We do not need to saw or automatic weapons attack, ie the meaning of our actions is not to the amuse to the endless circus kaleidoscope of images accustomed audience, but to obtain results in other areas .. in the areas of thin worlds or information fields . In other words, we care less who sees us in just brutal clowns, we seek not their attention and understanding, but the attention of our so far not aroused and blind brothers and sisters ...
third We assume that we use a simplified maximum. If we were to simplify even more, we would run the risk of turning us into primary school teacher what can not be our goal, that is, we believe for some time that those who want to see ourselves honestly see ourselves at all costs is .. .
4th Our audience are those who really want to be our audience.
5th We will not repeat what artists have done in the past, if only because the situation of the past is not identical to the present. What is meant is both the art and the metaphysical situation.
6th Robots are in our view, a metaphor for the other, so we will regardless of whether they are in our lives and the lives of others are available, resort to this metaphor as the most adequate and accurate. Apart from that, we will not stop us always to the problem of artificial intelligence and real and not interest her metaphorical socialization and ethical aspects of this process.
7th In fact, the creation of a selection or the generation of variety is not so very complicated, but we do not aim to create an endless reproduction of accessible comic gags how to do more or less sent our so-called peers. We tend not to teaching, Pseudomoralistentum, pseudo primitive humanism and narrative. The opinion of the viewer or the critic's interest us as much as we can be of interest to white noise. Their intensity can be large and small, and sometimes you can even outsource it to decipher individual segments, which depends on the source ...
8th If we were such a profound question, one means of course that we probably pay all sorts of parties, secret, Masonic champagne or foreign nationals. We want to put the questioner in knowledge: We sincerely believe it, that the only one to us at some time to "pay" may be, of course, the Lord is! And even more, without thinking about it, repeat the words of Meister Eckart: We prefer to have a hell with Jesus as a paradise without him! reply Regarding the question of which we actually live, so we do: We live on occasional jobs than people, the commerce in art and work in Sozium which increased the capacity of blood suckers and Teufelskraten, the people for the automatic and the dumbing down drive, depersonalization make zombies and despise. Work is slavery and the work of the devil, it is the satanic variety of homo sapiens. But the relief work by using Robots, machines and machines is an abomination and a crime like any no matter how "sympathetic" Slavery!
9th The person who makes such a question is usually an atheist or the unfortunate does not have firm faith, and therefore understand both the meaning of the question, just not because they lack basic logic, especially since the man is only more or less successfully GENERAL PLAN OF GOD put into practice! And that plan includes everything we see around us, what we dream, what we anticipate and what we desire! The creation is to deny the belief in a miracle (as ridiculous and paradoxical as that may sound), said in wonder a fluctuation is illogical to understand that this is in a position to shape (with a happy combination of circumstances) of debris from the dump a working TV! (Let us note only that the TV does not have anything in common at all with the complicated world around us).
comments
* EVP (electronic voice phenomenon) and "Trans-communication" is accompanied by Konstantin Raudive and Friedrich Urgens 1956 discovered phenomenon, which is a method of registering residual electromagnetic activity, the paranormal interventions using the created by him generator. Currently exist in the world groups of researchers, involved in the investigation of this problem.
** As one of the forerunners of the guerrilla metaphysical can be no doubt David Koresh and his "David's Branch" consider, real, new Christian saint in 1993 brutally on the Waco ranch in Texas (with the help of a neuro-paralytic gas and fire) were killed by agents of the Teufelskratie. "And in ancient times, Christianity was incomprehensible to some, some hated it, but make it disgusting and deadly boring, succeeded only now" - Vladimir Solovyov.
*** Under the ineffectiveness of the left discourse means by no means a certain effectiveness of the right Discourse, but said that this will most often metaphysical practices, attributed to a metaphysical rebellion - a rebellion against the "injustice of the universe", the "chaotic demiurgic projection" (are to blame, of course, both the support of traditionalism and the left-materialists, positivists ). In reality, however, the metaphysics actually not a single vector, no direction and can not have one - neither approaching a left nor a right, that is outside of politics, where they are but certainly very close to the Biopolitics and biosemiotics. Undoubtedly, the fact that metaphysical laws do not simple at all levels really are, but also constitute law of the foundations of the universe, but we tend not to define the project universe as unjust project, that injustice is human choice and not the plan of God, and therefore it is the people not summoned , metaphysically to rebel against God but against the "enemy", his entropic choice. Our turn to the left of discourse can be explained by the fact that, especially in the context of the discourse had raised have long time and have our ideal companions: Alexander Brener and Barbara Schurz, the Radek Group, the father of Istvan Kantor Neoism etc. But for all respect for their opposition are we notice not avoid the superficiality of their struggle is against the visible institutions of the Abolished Centre directed to and as a result Abolished center successfully absorbed and annihilated ... Unfortunately, such a super genius like Pol Pot, have died for nothing, slandered and demonized.
**** According to legend, was Llull knowledge of the universal method "as a result of divine revelation in 1274 on Mount Randa, near the city of Palma - he saw on the leaves of the trees letters of different alphabets in the wind rocked the leaves, forming words from different languages.
In this way, " "Born to disclose the basis of several fundamental concepts and their connections, the people all the knowledge about the world, formulate the problems and get answers to all questions should be. The "art" Llull's art is in the original Greek sense of that word "techno" is the method, the logic and actually the art. formulated in modern terms it is the "structure". Accordingly, the man who uses the art Llull, an artist, an artist.

translation from the Russian by Andrew Boehm

futuro ultra web page: http://roboriada.org/ultrafuturo

What Kind Of Matress Is Good For Scoliosis

reaction to the commercialization of art

Big Tits Molested On Train

> My weapon is crying softly < [2005]
The robotic "Talon" dedicated to ... "Talon" is a universal remote-controlled robot from the U.S. Army with the assistance of Iraq mine-clearance, communications, etc. was used. Can theoretically carry a machine gun and go without the surgeon's discretion in operating what the task of modern U.S. military doctrine is equal to: warfare without humans or with minimal use, of the attacker's point of view, of course. In many American technical universities "Talon" model for imitation, and all students dream about when they do not have something similar to, then at least to modify it ... With the emergence of the video, the idea inspired by a reasonable weapon that will kill anyone, and the story of how soldiers in Iraq put an unprecedented sympathy for the robot to the day, ie in the face a revival of the machine, taking the robots name and grade called for in emergency case, to not send an equal, but exactly this (heal) to repair ... In a word, the robot has become a part of the operator body. This video installation, we have shown in many places, and people liked the graphics, when the pacifist message was often misunderstood ... How can you understand something well: A weapon is indeed intended purpose - to kill and not cry ...

Layout Of Event Program

still from video> official invitation < 2007

Sample Wedding Cards In Tamil

Méchadoll Vidéo

Digital Playground Movie View Free

fillet the piece that I had today, had dinner, turned into a bird long outstretched. The smell of rotten concrete attracts headless flying pigs. my house is situated in the left hemisphere of the brain of a pale moon paper. split from the stuffed with cotton wadding rotting walls flows radioactive saliva

I have my dwelling always present which is characteristic of each snail. I will hardly ever be able to get rid of it. I get to the bank of a stream, and seek my finger against the clear cool water, touch, however, crush, only ice. in some ways we are like hot-dogs with mustard

my house is a small ball is made of nickel, which has been prepared on behalf of a foreign travel agencies. between its upper and its lower part is a very thin wire attached to the kidney are still alive with bright-winged butterflies are raised plywood, but they gradually drop rusty from blood and give me a drink. in my right upper corner lives a hippopotamus. right in the middle of the closed ball always exists a perennial flower enters from puke [your house and you feel as men's in what you yourself created. put this idiotic and used by anyone construction continues. tell from your furniture yet. live, was there, met from the obsessive hope it that all of this at some point]

end there is also a steady assortment of household equipment: hole-a dark green sofa with one that I start to eat during the evening walks, two footstools, three chairs and eight tables for the cutting of meat. all these objects are always at their place and nothing can destroy their immobility

course influenced such interior almost everything I do, too. ever it is my favorite thing to me rusty nails twelve inches to hunt in the head. if my brain finally pierced all of them is to reach at least a few moments the long-awaited state of an amoeba

Moreover, I had other jobs, finally an intimate life with a dead cat and kitten unborn. at all is my scheduled day every minute and I do not have the usual power coating, and the same events change. in the pot constantly cold tea is boiled, is behind an opaque window from plasticine watt snow

all my strength to frail blackheads covered by worms and excessive body goes through a burning sting steely. shish kebabs are out of my thoughts in cold boiled vomit. each of my many hands trying to take uncertainty, something that at least some thirst-quenching and unattainable, but finally came only to the unevenness of sheep brains. on the shelf in marble cabinet is eternal asphalt fire of not one

safety of domestic objects in mind the risk of the emergence naturtechnogener disasters and other extraordinary attacks of the defense capabilities and mobilization readiness

when He took me by hand when adopted by me from this house out out on the street the autumn was just very quiet and probably tame

.mkv Player Audio Undf

The Secret Supper was an act of connection between God and man and between people. The milieu of the film "The Last Supper" provokes some biblical allusions to this subject, but his only hero joins in the processes of ingestion, not of ash and dust, but "separated" himself rather, from himself. Context of the simple and somewhat ironic action is the theme anthology seclusion.
It is considered that the deliberate desecration of the sacred in the present case anything critical about the past - God forbid! - Carries. The subject-matter criticism can only be the authors themselves. Moreover, this profanation can not be assessed as the author's intention - rather it is an example of this is not unknown formula "you wanted the best, but it came out as always."

Pokemon Doujin Ash May

the heavy load periods of late, led by tentative expressions of no less vague future and the premonition zodiacal transformations in the spherical space of the universe, emerged the human spirit down into the shallow finest energies of perpetual chaos and hears the strange feeling of uncertainty states varied.
the human is essential to the object of aggression sophisticated information and environmental chaos. evolution as an indispensable element of the environmental, as their release and the Vicious Gleide that expands with extraordinary tenacity of his techno-megalithic habitat, which is filled gebilben of truly become gedankenaähnlichen his imperfect spiritual, the human victims of a senseless searched by are the eternal immutable laws of being opposed.

fasseln the bursting of the unconscious instincts, the tangible world in the depths of the irrational and infinite resolution of form and formlessness, painted on canvas I try, through the plastic movement of the rhythms and color structures the macro-and micro-cosmos of the physical and mental astral and link to his capture.

A. Rodin, Berlin 2005. more images: http://flickr.com/photos/a-rodin/

How To Remove Veriface

all quiet in the smoking area of social criticism
shy of sheep on november
sky and the red worm broken glass meat
divides slowly the forecourt
rat-sized dogs with bells in leberbädchen
waiting taxi hyenas smoking on and off
constantly traveling behind the squint in
the sun-powered morning sufficiently
capsize it and drown in self pity
so sexy

Osteoporosis Disease Slogan

. gif is a part of alternative living Projeckt Reitbahnstraße 84 in Chemnitz, Germany
exhebitions in 2007 :

August - martin Zerrenner [painting / photos]

september - alexandr rodin [painting] + sin & Illja jura timafejeu [video]

October - Siarhei (sergey) zhdanovich [photos / video] + mandy bud [graphic]

november - ultra futuro group [videos]

december - Volha martynenka [Photo Reports]

Recommendation Letters Hygeine School

Why Does Herr R. Run Amok?

Rambo II - The Order (Rambo: First Blood Part II)
(USA 1985)
Director: George P. Cosmatos, Screenplay: John Carpenter, Sylvester Stallone, Kevin Jarre photography: Jack Cardiff, Music: Jerry Goldsmith, Editor: Larry Bock, Mark Goldblatt, Mark Helfrich Gib Jaffe, Frank E. Jimenez
Actor: Sylvester Stallone (John J. Rambo), Richard Crenna (Col. Samuel Trautman) Charles Napier (Marshall Murdock), Julia Nickson (Co Bao), Steven Berkoff (Lt. Col. Podovsky), Martin Kove (Ericson)

Synopsis: The detained under the previous events, John Rambo gets a reprieve early in prospect. It should identify in a top secret mission U.S. POWs in Vietnam. The journey into his past Rambo confronted not only with his own demons and the enemy of the past, but above all with the intent only to their own advantage bureaucrats in their own ranks ...

RADIO HUNDD: RAMBO II: THE MISSION may well be one of the most controversial films of its decade, will be considered, at the same time he is one of their most popular and influential. I would even go as far to say that Rambo II: THE ORDER all represented in pure culture, what is generally under the term "eighty-action film" understands that this genre is probably embodies a prototype. One moves the whole ideological baggage aside, with which it is loaded at a late and final height of the Cold War film, first released, so irritated especially how much he was by his immediate predecessors, to which it connects the content almost immediately, stylistically and in his tone is different: From the broken anti-hero, deeply traumatized veteran Rambo is an over stylized in any way become Superman, from the grim little psychodrama in iridescent colors shining spectacle that located in a completely different universe seems. This break with the source then it seems the controversy surrounding RAMBO II: lie to that job in the first founded.

THE OUTSIDER: Interestingly, despite these can be seen especially for the American public does not observe any changes and breaks are still parallel to the first film. The inner peace that radiates at the end of John Rambo RAMBO , seems to get him to have remained in prison. He says literally, "he knew there (prison) at least what it is" , he has found a refuge where he could come to itself. In a sense we can say that can begin as early as the prologue, the conversation between Rambo and Trautman, Rambo now, after this rest period, with his (re) shareholders behavior. The fire of revenge burning in him and he would take it back to the place of actual events. to free the film from its ideological baggage, however, is not easy - even if the antagonist function of the Indians in traditional Vietnamese Western equivalent - and not strictly necessary, since the Anxiety or worry in such interconnections still provides some additional interesting aspects of interpretation.

FH: As you lead me again to exactly the topic I actually tried to avoid. But you're right, it is difficult if not impossible in Rambo II, the contract will not see the piece of anti-communist propaganda, which served as back then. To this end we undertook the formerly broken hero John Rambo an overhaul: The outcasts from the first part is here exploited the hopes of an entire nation and stylized, which - after this nation in the previous in the first place again reminded of the lost and unloved war - this war is now allowed again and again for this fight and win: "Do we get to win this time" he asks at the beginning of Colonel Trautman. A question that would have been unthinkable in Kotcheff film because its protagonists there any patriotic feeling of unity was lost. But I just happened to Cosmatos' film with the required distance, it is striking that this propagandistic content acts as put over, anchored is not really in substance is that the Russians are by their very Russian-ness evil, Rambo final revenge is less ideological, but rather personally motivated.

A: Yes, you get the feeling that the film trying to perform the narrow tightrope, on one hand make a similar in part political statement as the first, but this time a more patriotic position set, while a degree of detachment to achieve the political context outlined by the weak antagonist, who come from the soldiers of socialist countries. By the Vietnamese resistance fighter Co Bao, rice farmers, the small village near the jungle, the beautiful landscapes, ancient temple ruins and the Buddha statue at the border is clear that there is also another Vietnam is. This background illustrated the very life of this centuries-old culture and the Communists act with her surreal camp as a foreign body. Receives further support this interpretation, the fact that there seems to be no outside world. The arriving in Vietnam, Colonel Podovsky has never been any consultation with superiors. Moscow also seems to exist as a real no command center. That the Russians appear to capture an American in the Vietnamese jungle just so, refers to argue that it has here acted in some ways a proxy war, but is otherwise completely absurd. This deprivation of any political credibility can sometimes have the impression of seeing a fantasy film that mimics only a similar structure as the then world. But in 1985 / was this had to be understood differently. So once again a typical example of how ambiguous the action film, when he tried precarious social or political themes to squeeze into his frame. The point of barely sketched villains, however, allows the film, as you said, free of ideological awkwardness These kinds of far-reaching.

FH: Especially since the film quite readable in other respects - that should be overhauled after 20 years in which the film from reality been, is perhaps time to take note. This from you beautiful picture described the "other Vietnam" Cosmatos serves as not to show itself to how the Communist rule an entire culture wanted to respond to oblivion: he and his cameraman, veteran Jack Cardiff (including Black Narcissus, Capricorn, WAR AFRICAN QUEEN AND PEACE and) make Vietnam a spiritually charged place of myths and legends, not least to a country not only geographically, but mentally for all, to locate. It is the place, can withstand only a warrior, fighting machine as just an archaic John J. Rambo, whose mental and physical scars are indomitable in the Landscape reflected in the nature, culture and politics, an eternal struggle unsubscribe. In this reflection Cosmatos meets very well what Kotcheff did in the previous expression: Vietnam is the true home of his protagonist, a place with which he in fact "one" is. On the dialogue level, however, it sounds because of the aforementioned Comichaftigkeit the film somewhat clumsy: "What you call hell, he calls home" Trautman replied the actual villains of the film, which concerned only about his career Murdock. But this "hell" is quite different from that which we know from other Vietnam films. Of course, the forest holds its dangers, but it is almost an idyllic Vietnam, which captures Cardiff: It is in sharp contrast to the horror that has the Rambo experienced there and is associated with the land. This is nowhere more evident than in the love scene between Rambo and Co Bao, in which the soft-focus nature to the two brings about almost too light. But this idyll is disrupted by the approaching enemies suddenly.

A: The designation, Tuck, Braddock's buddy in MISSING IN ACTION for Vietnam at hand, holds the "Pearl of the Orient", is thus limited in Cardiff's images have a much higher correlation than in the dirty panoramas Fernandes'. The constellation of figures are something for RAMBO II: THE MISSION also fall like under the table is left. Rarely had the dramatic positioning of a love interest a more important role than here, because if you look closely, a page opens up to John Rambo, which was at all patriotic infatuation, it is the one that can be found in the script, or that the Film is often said to the whole ideology framework, albeit for a short break, can. After the torture Rambos in the prison camp and his escape, the Co through their selfless action in the first place, he discovered deep feelings for this woman. They go so far that he is willing to forget everything and Co on the detour to Thailand in the U.S. to escape after the mission can be viewed as a failure and he knows that he has by his own government, no support. He wants to take Co and all the ideals of freedom - even in the very literal sense, for the POWs - are now less important because he seems to have found after all these years, a man who would walk through fire for him and the whole without connection to the military. An evolutionary psychological interpretation of events offered here thus a second time and also shows how close is this scientific theory of love notions of romance. The moment of happiness for the two lasts only a few seconds, and is Co by the balls of Vietnamese soldiers riddled normal. Not until there is, as usual within the genre, started up the engine man's revenge. As Co was ready, "her husband" to save and to free from the dark hell of the torture chamber, Rambo is in turn retaliate, since he now has taken the final key. In an unprecedented finale, which occupies the entire last third of the film, he will spread the fire burned him inside it across the camps and destroy all who stands in his way. The liberation of the American soldiers who were not required by the operations center will appear there as a byproduct. His hatred drives him now at. The images of the explosions, which constitute the most extensive so far pyrotechnic fireworks in film history, make this abundantly clear.

FH: Yes, this finale rolls one after 20 years totally down with his unbridled destruction and the passionate hatred that Rambo can go down on his enemies. Compared with modern action movies RAMBO II acts of the rest: the order today so almost calm. This outbreak is also breaking with the image that has been painted of the soldier John Rambo: The quiet and precise approach that is different if not entirely devoid of emotion, yet very factual manner with which he pursues his work of unbridled fury. Basically, however, a parallel development to the final of the predecessor, but that loss of control Rambo taught there more to the inside and culminated in a mental collapse. You're right with your observation that political motives in final Rambo rampage if they are not entirely absent also, at least one at least play very minor role. This fact has been and is in the reception so easy to overlook, for me it is one of the main reasons for the current ideology-critical reception of the film to undergo a revision. The (real) issue of Cosmatos' Sequel is not only the liberation of POWs, nor the belated revenge for a lost war; it is about the incarnation of the machine John Rambo. After he missed RAMBO in the United States a confrontation therapy, he is now his own trauma in order to make it forever behind. It is interesting and highlights the contradictory nature of RAMBO II: THE ORDER that this process is run through the incarnation of a character that more and more automated features creates the day.

A: The entire exterior Rambo was driven from his actors into a single bundle of muscle, which he emphasizes the aspect of machine warriors. When he compared to Co opens, it allows for feelings and is then immediately from the World punished. Again, a reference to the action film omnipresent, existential cynicism. The individual knows that at some stage against circumstances beyond help otherwise than by violence. Committed John Rambo in the first part driven into a corner or a backlash against American society, he committed his time to those who robbed him the possibility of a last spark of hope in the world to have. It is the proverbial straw that breaks the camel's back, and thus at the same time breaking through his suffering that he has repressed all these years. The fact that he exercises on behalf of a whole nation and their trauma is retribution, out of the diegetic and purely on the recipient level, a more than casual affair happening. The film has created in American society more aware of the suffering of American soldiers returning home as the big plays. Ironically, RAMBO II: THE MISSION In the mid-1980s, the decisive impetus to deal more intensively with the veterans of the war and provide them with higher benefits available. That should be in no small part in it, that Ronald Reagan liked the movie in particular: . "After seeing Rambo last night, I know what to do next time this happens" on the developments, which the fictional character "Rambo" have made it one of the largest mass phenomena and pop icons of the decade, will, above all, I can not even go further, because to describe this loss for words. This hysteria that made both critics and supporters at a political Rambo to first order can be understood only with intensive study of the historical and political contexts. While there were many ex-GIs who saw Rambo in a kind of figurehead, there were also veterans' organizations, which warned of a distortion of the reality of war. It is interesting that a close look at the constellation of characters here yet again to promote a much different picture revealed can. Keywords: Murdock!

FH: 's right, because as in the first part of the enemy is to be sought in the sequel, especially in their own ranks, directs here representing the government officials Murdock, the Rambos use. Murdock, given with great verve by Charles Napier, is the perfect example of careerist bureaucrats, the blunt obey the orders from above, while only his own gain is thinking and knowing absolutely no moral values seems - to round off this picture, he is in the command center constantly surrounded by multinucleated mercenaries for the use of a kind vacation. These people - but also their superiors - are prisoners of war really matter. That Rambo actually what will, then do not plan: the mission it was supposed to lead to at this season vacant warehouse, prove the faith of remaining U.S. troops thus be erroneous to reassure the public and the government relieve the obligation to really doing something. Once again, Rambo 'is used as a troublemaker by bringing the repressed to light and forces a confrontation. The populist criticism of "those up there" is now not uncommon in action cinema: the films are characterized in particular by a Seagal's extreme skepticism with agencies like the CIA or FBI. The New York Times described Seagal's debut film NICO then about as "the year's first left-wing right-wing movie" . This orientation corresponds to the orientation of action movies just to what he called: action, action. In this respect, the action film per se is already reactionary, because he always makes the act of contemplation. She reaches to tick off in one go as fascistic therefore too short. These movies are so much more complex than is commonly confers to them. RAMBO II: The procedure was the corrupt decision-makers against the clichéd honesty of the man who mourns the abstract ideal of a loving homeland behind and I know how it would be better. But it is becoming more and more that this Ideal must remain such. Rambo is thus a steeled his battered body and a barely disguised descendant of those remaining, the themed late Western and Eastern as a Chang Cheh. It is the relic of a time when the simple solutions were feasible, which now is past: His victory at the end is just a flimsy. Rambo is caught not only between two locations - the United States and Vietnam - as the first part made clear, but between times. What that means, or even three years later, obviously as RAMBO III obtained from reality and his hero was sent after early retirement.

A: Here we can again draw the parallel between the end of the socialist empire, Reagan once the "evil empire" dubs, and just end this war, which may be the only one against his captors. The possibility of de-politicization of the content is striking. Against a mighty empire, the evil force of good appears worthy, it needs a super-warrior. Therefore, Rambo has no help. The all-powerful individual will prevail against an ideology, which transports the collective thoughts. Interestingly, even in the late 80s when the Soviet Union began to open up and not monsters by the iron Curtain fallen, the outline as "evil empire" was no longer functional portable and also a hero like Rambo was sent into retirement. But also addresses the front again. Your characterization Murdock I would like to put something on. You talk to Charles Napier, but his occupation alone, the firm edged faces make it clear that it is not only dull to a command receiver, but also someone who wants to take responsibility for the U.S.. However, he does so in a manner contrary to the basic sense of justice, as he thinks in political dimensions. He asks Trautman also what would happen if show you a "burned-out war veterans" in the message would be: "Every one of those out there (the American people) would be screaming for an invasion." Murdock is to ensure that the people can sleep at night well, but they can be recorded only if one finds no prisoners. Anything else would only lead to unrest and the war we wanted to leave after ten years is now finally behind him. In this respect, Murdock is very moral, but just arrested the system. I therefore find the statement that Rambo keeps this clichéd the honesty of the man to devote as not correct. Rather, it concerns values of humanity, the ideals that in the U.S. will still always be celebrated like to implement them effectively. How do you reference to the reactionary approach of the figure, when the end justifies the means already anführst a very inconsistent behavior. Humanity by killing their enemies.

FH: your comments to Murdock are indeed very helpful to my somewhat brief statements to differentiate. Nevertheless, the fact is that the values of humanity in the action film are almost always the "little guy" is assigned, which takes the place of weighing the pros and Wider diplomatic level, the quick decisions. Rambo also thinking not much further than his fellow prisoners that he wants to free at all costs - probably to get yourself finally free from the chains of Vietnam. This is also one of the differences between the predecessor and the Sequel: You said in an interview about RAMBO time, John Rambo as a soldier to think much, that was his problem. In Cosmatos' Rambo film is indeed still portrayed as taciturn thinker, but once he is in action, it works quite smoothly, he throws off any doubts. This leads me to another aspect, the contrast between nature and technology, the more I'd like to say a few words and so was very important even in the original. In RAMBO II: THE CONTRACT, these two opposites together more interwoven and more difficult to separate from each other. Rambo, we had already said on Kotcheff film, yes incorporated both mechanical and natural features. This is in part 2 quite explicitly in Rambo steeled inflated body, with its large-caliber firearms almost grown, just as the mechanical men in Shinya Tsukamoto TETSUO films, his bow - one of the main attractions of the film, in which tradition and modern technology a symbiosis with each other (and of course in his almost sentimental relationship with his knife), but also in Rambo genealogy: He has, inter alia, German and Native American ancestors. But it is also the connection to the machine, the domestication the savages who causes trouble: In a relationship marked by complex and sensitive system as the policy is the man for Rambo, which brings the overall processes by themselves. Conversely, the born warrior brings the modern equipment with which to equip him with a parachute jump by almost. I think this debate with the most exciting in RAMBO II: THE ORDER. One may suspect that the rather clever elaboration of this theme to James Cameron is due. The Western duel in the finale, in which face each other in Podovsky Rambo and two helicopters, brings Rambo underdog role, the role of technology and nature, to the point: Rambo's helicopter is almost destroyed, as is waidwundes an animal down, awaiting the death blow, Podovsky has with its precision weapons are clearly better cards, but loses because of the survival instinct of the U.S. soldiers. In contrast, fail, any technology.

A: This western showdown brings the explosive force of the action genre again well to the point. Who was there now but the sun on your back? Your choice of the term "little man" I find somewhat problematic, because actually there quite quickly think of the stupid-dumb citizens, due to lack of understanding it all out and cleared for skin often erroneous generalizations. Ultimately, Rambo takes his heroism in all of us. Just as at times is a hero now. He endured all the pain and humiliation in a higher degree, so even better for all of us to take the alternate position. Because it is so "fantastic", we can project all our hopes on him. Identification is difficult with such a super man. Rambo whirls the political circus, but it raises the question whether an order that runs smoothly when lubricated axles are all corrupt, nor any order, if found 2 times 5 + 2 also can. In this respect brings Rambo purely a policy, however archaic and simple. An order that not only the "little man" means, but every human being feels. Life without sacrificing meaning, because these people remind you of something you want to forget what can not be (in) order. A message that has touched, especially the Americans. If the torture is not so extensive, the blood is not the bullet wounds so red and the political conflict was not so real, Rambo would have also done well in every classic Western. The combination of Western and war movie, paired with an actor whose appearance in any Greek poet would have had rapture, with Rambo created a pop-myth that has found its entry into the encyclopedia for years. And that this is not the end, be provided for RAMBO III.

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Splatting Image 72

something in-house advertising before it goes on: The new issue of Splatting Image has been published. In addition to a dog heaven compatible text of Marcus Stiglegger on "biker movies", there is a trip into our realm from all sides estimated Christian Kessler. Under the title "Testosterone Gone Wild!" devotes himself to "our" genre, and it discusses such films as Death Wish 3, PHANTOM COMMANDO, LOCK-UP or RED SCORPION. Our serial murder expert and honorary gasoline drunkard Stefan Höltgen treated the motif of the door in the modern horror film (including a trip towards Silent Rage) and me something to read four reviews: I am working with the movies ALL THE BOYS LOVE MANDY LANE, Stuart Gordon's STUCK, the gunman film OUT OF THE BLUE and the Backwoods Horror STORM WARNING. So much material to fill in December with content!

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Anthroporambos

Rambo (First Blood)
USA 1982
Director: Ted Kotcheff, writer: Michael Kozoll & William Sackheim, Sylvester Stallone, book by David Morell, Camera: Andrew Laszlo, Music: Jerry Goldsmith Editor: Joan Chapman
Starring: Sylvester Stallone (John Rambo), Brian Dennehy (Will Teasle), Richard Crenna (Samuel Trautman), Jack Starrett (Arthur Galt), David Caruso (Deputy Mitch), Michael Talbott (Deputy Balford)

Synopsis: The Vietnam veteran John Rambo , former member of an elite unit of gigs around since the end of the war by the United States without the strong goal of life. When he comes in his walk through a typical American small town, where he is quickly taken up by the local sheriff who keeps him because of his unkempt appearance for a hobo. He brings to the city limits, making it clear not to come back. But John Rambo has little desire to be simply deported Sun When he does return back to the way in the city, he takes the Sheriff determined summarily. The narrowness of the prison and the mistreatment of some deputies to break out his war trauma, and he begins to fight back ...

THE OUTSIDER: need overproduction notes or similar trivia we, I think, not to speak because the movie before the most likely to be known. Let us therefore equal in medias res. If we look today, at least a quarter of a century later, the film falls on its first incredible complexity. In his very best, the film reminds of the great dramas returnees and integrates these same mood in the spectacle of the action genre. Here RAMBO, despite its thematic multi-dimensionality of veterans contempt, rabid patriotism, American-smug narrow-mindedness and unable to cold- Formal military apparatus, a film about the narrowness and hopelessness. From the beginning, after the image is drawn, it goes to a lake-view. From there, the film made only a narrowing of space and choice. Internally replaced John Rambo a damper because his last boyfriend, he really wanted to visit, died of cancer, an immediate increase ominous music on the soundtrack to the pressure. When Rambo is then moved to the town of Hope, right, amplified by a rock wall and the containment of the mountains is called the sense of hopelessness.

RADIO HUNDD: Aha, so let's start with the theory of space! Yes, the whole Film is restricted and that, even though he plays in the very freedom associated with frontier landscape of North America. But even in the majestic mountains of the far North American West, once home to many adventurers and pioneers, philistine and Rednecktum have already gained ground and pressed their environment the stamp. Instead of the "real" wilderness we have here announced on the signs Hopes "Holiday Land": a nature which has degenerated to the theme park in the original scale, on that verlustieren the weekend warriors there with fire-arms and Flitzebogen. No wonder that a drifter like Rambo in Hope was by his mere presence Contempt and distrust captivate you. His escape from prison (who reminds him of the prisoner in Vietnam) in the mountains is also a kind of liberation or even unleashing of this nature: If Rambo melts into the surrounding woods, the weather is using for its purposes, and from nowhere strikes, then he shows the hapless would-be adventurers Hopes a completely foreign, dangerous world, one that can not be tamed. Bildkompositorisch reflected in the dismal gray, the colors, the clothes can be damp at the mere reputation, in the narrow focus, which allows only rare overview and allows the protagonists of most of the huge mountains dominate, resist.

A: This close it's also the trauma of Vietnam, Rambo justified. He can not be locked up - a glance at the bars of the prison comes to him the memory of his captivity in Vietnam - and must take refuge in the great outdoors. But because America is no longer a land of pioneers and the boundaries are stuck, it remains only to become one with the forest. The now obvious for years and is uprooted in the U.S. wandering John Rambo is no place in civilization. For the drill with hard drugs and artificial breeding of fighting machines you have in times of peace no longer in use. Rather, they interfere, they remember But in an unpopular war that would like to forget any of a trauma for the country itself (one of the largest) is. Irony of fate now that this very special training that makes him break into the home so difficult to walk, enabling him to disappear in the forests in which the inhabitants of the city's Hope to be at home, and for the convert it into a pursuing sheriff (war) hell. These (geo) morphological approach Teasle confronted Sheriff and his arrogant young-subordinates with a dimension of horror to them until then a stranger. For the young deputies Vietnam seems far away. A historical Event with which they have nothing else to do. This reflects very well the spirit of America reflected in the early 1980s.

FH: Yes, Rambo brings the war home, and it is quite interesting that the kind of fight, which he perfectly mastered and practiced, is the former enemy: the guerrilla warfare. If the U.S. him, the Vietnam veteran, for the values of his country in the safe distance from the killing machine - you could also say, on the other - has been drilled, it will no longer want to take her, then he needs his country just in the place to turn on the turn, but he is at home. This is really exciting about RAMBO: He works with a double Concept of home. The former home, his country is for Rambo long been a stranger, Vietnam - both the real place and a mental condition - is his true home. His return, therefore ends in a turn inward. He stripped, as you correctly said, for years, "to arrive" by the United States without. At the finish he is again only when he can be the fighter in the chain and the forests of Oregon into the jungles of Vietnam. The roles are now reversed, the hunters become the hunted, like the peace breakers are one by one made of Rambo. And after he defended his room, he goes on the attack and with the war then in the Center of Hope. Incidentally, the name is indeed a bad joke, because the way forward, which is connected with the concept of hope have bought its inhabitants with a total isolation from the past, both mentally and physically just. Rambo and now gives them the necessary exposure therapy.

A: Very good brought to the point! The combined force with which he transformed the North American forests into a second Vietnam, is already visible on the exterior of Sylvester Stallone. Muscled and scarred is, inevitably one the impression of a fighting machine. On figural level there is a very personal conflict between Rambo and Sheriff Teasle, this is rather forced by the latter. Teasle repeatedly emphasized that he wants Rambo dead. What at the beginning nor his duty may be owed as Sheriff developed after the death of his friend Galt, who drove through his fanaticism, the hunt for the tip, for Rambo to Point Of No Return and Teasle to a personal matter, in he is putting on to get Rambo. He would indeed alive, but later in talking to Trautman he admits that he called the "boys" would necessarily want to kill. This contradiction can only conclude that Teasle wanted to do it at all costs themselves. He saw the capture of Rambo, he would have done best man to man, his chance to bag another trophy. Kotcheff describes him very well when he returns to his office frustrated and it looks as though the National Guard killed Rambo. In a very narrow attitude - which refers again to the mood of hopelessness - Teasle sits at his desk, in Hinterergrund a hawk and three medals from the military service, in the foreground with sign next to a stuffed lynx. Rambo's head, he could not get to hang.

FH: What makes Rambo is not only his immense skill and the control of arms, but above all his capacity for suffering. This property is anyway a central motif in the action film, which serves the particular hero to a real savior figure stylize. The violence almost obsessive action film of the eighties by the trend its peak. How much this John Rambo the pain is accustomed is clearly in the one you already mentioned scene in prison when we indeed be muscular, but sinewy and somewhat emaciated and get to torture scarred body to face, no comparison to the inflated machine is from part two and three. After his escape, Rambo runs in the freezing cold of winter, dressed only in a vest around, then he falls then in a suicidal act of desperation from a cliff into a tree, he incurs a deep flesh wound on his arm, which he shortly afterwards professional self-sewn: a scene that exceeded the third part yet to be . Finally - the height of his passion - he is even buried alive when the National Guard, a bunch of great kids with war toys, the entrance to the mine in which he is in hiding, burst and include it with the rats under the earth. It is easy not to get broken, that makes him a natural for Teasle desirable victims trophy. Especially since he thus indeed be quite can make private statement to the Vietnam War.

A: If Teasle Rambo called a machine, then this is even in a figurative sense, even if to expire at the Vietnam Veteran the jungle survival program seems like a machine. In the sequels, then this is already visible on the outside, but we will come later. As for the statement, you talk to a really interesting point. The generation that represents Will Teasle represented, that is like the position that the Vietnam War but was not a real war and it really should be, when the returned to "wimps" in the war rather taken drugs have or are simply just freaked out. But as John Rambo he aptly says, as he has all made of Teasle men unable to fight and keep same is a knife to his throat: "Stop it, or you will have a war that you will never understand."

FH : I was wondering whether Teasle name is a talking. It sounds like not a little "tease" of what so much "irritate" as means. In fact, it seems that "bum" who comes to his town, almost wanting to provoke a violation of the law.

A: When we come to Col. Trautman, we have a Figure that the seemingly more corresponds to imagine how the Americans their military. Like a tin soldier, he is in the first shot, which introduces him as provided with medals, edged and mastered. Accordingly, its military language, with which he not only refers to permanent Rambo's invincibility, but indirectly also praises the glory days, in which she "had all the blood and guts" to the knees in.

FH: Trautman is extremely mechanical and wooden, and downright strange slowed misplaced under "normal" people. Probably the only way this stiffness, in the face of war atrocities not insane or so to collapse, like Rambo does in the end. And you realize Trautman also indicates that he (still) not used to is no longer active in combat to take part, but now working from his desk: a sign that in him a conflict is raging, got the at Rambo to the outbreak is. Kotcheff Trautman shows no longer on the battle field, so in the woods, but in the security of the mobile command center of the National Guard. Only at the very end, just before it comes to a major disaster, he lets him actively intervene - a view of the third part, which shows another Colonel Trautman. In the literature, the film is often called the father figure for Trautman Rambo called. That reminded me his relationship with John Rambo more like that of the Creator to his creature: I had to think of Frankenstein and his monster. Trautman says the voluble admiration of a mechanic about the fact that Rambo was drilled to a machine that would eat things that bring ordinary people would immediately want to puke, just to survive. For him, this soldier is a thing that you use, its smooth functioning is admired, but you throw away once it's broken. The moral legitimacy for such an education is never questioned Trautman. But while he talks like that, this Rambo tries again to be human, what both the prejudices of his environment and on its own constitution fails: the war has become indelibly inscribed in it.

A: Unlike admired as Frankenstein Trautman not only what he has made of Rambo, but also what Rambo does. The inability of Traut's the creature itself also to approach emotionally, becomes the final abundantly clear. After Rambo has destroyed the city systematically destroyed by putting the gas station and it stops the fuel supply to paralyze the power and communication lines and chasing the local gun shop in the air, he goes to the police station, as it were the command center. When he made this Teasle and defenseless before him is prevented worse Trautman, Rambo's name by loud screams. Rambo can then indeed on Teasle, but would then go to the gun cabinet to continue its mission, as the police station is now surrounded. Right here is now stopped Rambo fighting program, as Trautman tells him quite strongly that his performance is over. It acts as if he had pressed the power button again and Rambo seems more to rediscover themselves. Suddenly he screams and starts going on his monologue in which he makes clear how much he had to suffer all these years. He leads all the things with which Trautman has never employed and thus reveals the trauma of a nation. When he howled before Trautman breaks down, this detects the first time that Rambo is also a human and not a creation. As Trautman Rambo approach depends on creeps and crying at his waistband, you can see how much effort it costs him to take him into his arms, but it is the least that he has to do for him. His military-rigid posture, he can not give up even then.

FH: Yes while Trautman has all the atrocities successfully sunk in and hides behind a stationary front, the memories of Rambo permeate in the final with a vengeance to the surface. What level of suffering has happened to him, is not in the brief seconds images of torture, the Rambo of the fare can be had, most impressively illustrated, but implicit in a dialogue at the beginning: When Rambo learns that his friend Delmar Berry - a guy like a tree, like Rambo says - from cancer, which he had brought from the war (probably caused by exposure to toxic gases), depleted formally until nothing was left of him was, it is clear how much this has little more John Rambo have armor to survive. Significantly, he is the only one from his company who is still alive. Through this unique position he gets almost martyr-like features, this played into the Sequels to even the masochistic. But it is not only the terrible experiences of the War, Rambo can ultimately collapse, but a disruption of his being: Rambo is not only machine, not just a program, not only creation, he was born to kill and fight. When he holed up in the woods, he is at home. With the self-carved spear and a knife, he takes advantage of the natural allies to disappear, merging with it. In this respect, Rambo combines both pure nature and the Machine. The animal was from the military pressed into a corset, the natural instinct is the fuel for the machine. If she runs again, Rambo can not stop it alone. This requires only Traut's - or one's own death. Rambo Suffering is an inner and an outer.

A: is very interesting then and the final image to interpret. If Rambo is removed, Trautman does not differ more from his side now, he looks into the distance and seems to fix something at the same time. The view is so trapped that Stallone seems to sit and watch directly over the audience. At that moment, freezes the image by Kotcheff and the song "It's a long road," sung by Dan Hill, is heard. While the total credits will see the statue and seeing this across to the viewers eye. One could say that this brief moment that John Rambo between caused by him has chaos and impending prison sentence, a moment of silence is. He looks into the distance, while acting entirely on him. After years of unrest, he is now again a state institution to be handed over and in the few moments between his deployment in Hope and the transition to the patrol car, he is resting in itself

FH: the end I was very irritated, I can even not exactly say why. is to decipher as clear a picture - Looking back, the song where it says further: "Each step is only the beginning", the freeze frame - so it seems with the otherwise very compact film (we said yes to its narrowness) to break, because it goes beyond its narrative framework. But that's the point then just again on the eternal return of the soldier who never arrives at its destination, but always ends up in his past. The way forward and the view this blend back to John Rambo. The home he finds only himself.