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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