The specialization in Spanish cinema define FlixOléwhich is not to say that they cannot be found contents beyond that root. The premiere of the original trilogy around John Rambothe iconic elite soldier played by Sylvester Stallone, in exclusive on the platform from this June 2constitutes a new example.
The arrival of the three filmscomplemented by the appearance on the scene in FlixOlé of titles such as the fundamental Terminator 2. Judgment Day and Danko. red heatgive the opportunity to recover or rediscover a more than representative figure of the action cinema of the 80s as well as reacquainting himself with the features that the genre had then and with the golden age of those stories in which the muscular hero finished off all enemies.
John Rambo is Stallone’s second great character. First, for symbolism and relief in the imaginary, there will always be Rocky Balboa, and then the veteran scarred by hell American suffered in Vietnam. His importance to the actor is manifested in the fact that, in a move similar to the one he made with the emblematic boxer, he reprized the role in two late installments wrapped up in the late stage factor, john rambo (2008) and Rambo. Last Blood (2019).
StalloneAfter some difficult beginnings, came to the fore, and in what way, in 1976 with the memorable rocky. cornered (this is how the original Rambo film was titled in Spain) and its success arose in 1982the same year of rocky III. The interpreter was therefore already a star, and with Rambo forged his status as a figure of the genrea status whose splendor extended to the 1990s, as witnessed by Maximum risk, Demolition Man either Daylight. panic in the tunnel.
‘Cornered’ (Ted Kotcheff, 1982)
It is worth claiming the remarkable corneredwhich transcends your profile by the speech that channels. Approaching her for the first time is surprising, especially if one is guided by the prejudices regarding this type of eighties feature films. The work, Based on the figure of the returning war veteran, he speaks of the rejection of society and the system. Rambo has not adapted because they have not left him either. The town he wanders to says on his entrance sign that he welcomes visitors, but the sheriffAs soon as he sees him, he makes it very clear that they don’t like “rabble” like him there.
The film, based on a novel by David Morrell, exposes that the attitude of the police, their abuse (the treatment received at the police station after his arrest), ‘activate’ the character. This circumstance affects the dragging trauma (those fleeting images of torture and captivity, the fact of being the only one of the battalion who is still alive) and leads him to do what he knows best, survive in the midst of violence. Rambo escapes and hides in the mountains, where the authorities launch a ‘manhunt’ to which the fugitive responds with guerrilla tactics. The death of the agent who shot him from the helicopter inflames police spirits even more.
The embodiment of the argument scheme of the single man who can with everyone is combined with incentives as that of the presence that radiates the Colonel Trautman (Richard Crenna), his superior in Vietnam, his mentor, the only one who understands him and the emotional bond he has left; the portrait of the antagonist, he sheriff embodied by a great Brian Dennehy (with more dimension and nuance than meets the eye); and the dialogues between these two secondary. Also, mention should be made of directed by an artisan of the genre like Ted Kotcheff.
The denouement oozes meaning as Rambo breaks down before his friend and former boss. and expresses how he feels and what has led him to act like that. This final monologue, which contrasts with the rest of the story, in which Rambo barely speaks, is well remembered.
‘Rambo. Cornered Part II’ (George P. Cosmatos, 1985)
Signed by George P Cosmatos in 1985, Rambo. cornered part II fits the sschool that implies that the character returns to the place that transformed it. In a wonderful beginning due to his tone, details and conciseness, Colonel Trautman visits Rambo, who is serving a sentence breaking stones in full sun, to propose a mission in vietnam. The ex-soldier agrees to ‘win his war’, this time rescuing American prisoners.
This continuation, along the paths of history and the treatment applied, built in a more marked way the archetype of Rambo as a ‘fighting machine’. It supposes a clear product of his time, of the cinematographic heroes of the 80s under which the echoes of the Reagan era appear. To this refer the Russian enemy, the power behind the Vietnamese soldiers; the antagonism, within his own camp, of the Washington bureaucrat staging a pantomime with the intention of leaving things as they were, and the patriotic expression of the final conversation with Trutman.
Rambo stresses that he would die for his country but regrets that this love is not reciprocated. Again the question of system rejection, represented before by the aforementioned dispatch man (role by Charles Napier) who betrays the hero in hostile territory. Despite what has been pointed out, the film It does not have the background of the original because of the emphasis on the archetype and the action coupled. However, it convinces, entertains and gives moments of lag (Rambo killing bad guys with the helicopter).
‘Rambo III’ (Peter MacDonald, 1988)
It’s also entertaining, especially when the hero finally makes it to the Russian base, Rambo III (Peter McDonald, 1988). This installment, with a powerful and effective deployment of action, follows the line of the previous title within which it introduces a Variant on Trautmanthis time on the ground and the one the soldier must rescue after he is captured by the evil Soviets in Afghanistan.
He American praise of the strength and resistance of the Afghan peopleputting the focus on the mujahideen warriors, squeaks if you think about what happened after 2001, although it falls into the path of the anecdotal and picturesque. Another sign that Rambo is a reflection of his time.
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