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Critics Reassess Starship Troopers As a Misunderstood Masterpiece
Hugh Pickens DOT Com writes "Calum Marsh writes in The Atlantic that when Paul Verhoeven's Starship Troopers hit theaters 16 years ago today, American critics slammed it as a 'crazed, lurid spectacle' featuring 'raunchiness tailor-made for teen-age boys' and 'a nonstop splatterfest so devoid of taste and logic that it makes even the most brainless summer blockbuster look intelligent.' But now the reputation of the movie based on Robert Heinlein's Hugo award winning novel is beginning to improve as critics begin to recognize the film as a critique of the military-industrial complex, the jingoism of American foreign policy, and a culture that privileges reactionary violence over sensitivity and reason. 'Starship Troopers is satire, a ruthlessly funny and keenly self-aware sendup of right-wing militarism,' writes Marsh. 'The fact that it was and continues to be taken at face value speaks to the very vapidity the movie skewers.' The movie has rightfully come to be appreciated by some as an unsung masterpiece. Coming in at number 20 on Slant Magazine's list of the 100 best films of the 1990s last year, the site's Phil Coldiron described it as 'one of the greatest of all anti-imperialist films,' a parody of Hollywood form whose superficial 'badness' is central to its critique. 'That concept is stiob, which I'll crudely define as a form of parody requiring such a degree of over-identification with the subject being parodied that it becomes impossible to tell where the love for that subject ends and the parody begins,' writes Coldiron. 'If you're prepared for the rigor and intensity of Verhoeven's approach—you'll get the joke Starship Troopers is telling,' says Marsh. 'And you'll laugh.'"
Like Stephen Colbert--the best parody of a ludicrous position is often to just embrace it and take it 3 steps further.
Robert Heinlein was entirely serious about the message that the story delivers. That only those who serve in the military and commit violence in the name of their country should truly be considered "citizens" of the country
Not quite. His core belief was, as he put it, there's no such thing as a free lunch. You don't get to live in a free society without being required to defend it.
My Other Computer Is A Data General Nova III.
When it (the movie) first came out, I was mostly in it for the bare boobs. We didn't have Internet access back then.
Exactly. Starship Troopers was an entirely serious book, with some deep social commentary.
Years ago, when I was undergoing U.S. Marine Corps infantry training, we were given a reading list of books on military leadership. Starship Troopers was on the list. It was one of the best books on leadership, and training, that I have ever read. Stay on the bounce.
The movie, by contrast, discards every trace of what makes the book effective as a coming-of-age tale, replaces Heinlein's social model with a truly fascist one, and makes the military's leadership a clown college (Space marines using carbines against the Bugs? Really?), to boot. It has NOTHING to do with the book, besides sharing a title.
If you look at other 'serious' films that Verhoeven has directed, you'll quickly see that he's got a major bee in his bonnet about the effects of Nazism on his birthplace, the Netherlands. Take a look at Soldier of Orange or The Black Book. They're brilliant, subtle and morally complex treatments of life (and death) in a time when the world was turned upside down by a sadistic totalitarian regime.
Clearly, Verhoeven appropriated the frame that Starship Troopers provided for his own purposes: to satirise not only fascism and the incipient militarism of American society, but also the wanton war-porn that Hollywood loves so much. It is a bitter, bitter film.
Crumb's Corollary: Never bring a knife to a bun fight.
I must strongly disagree with the use of the word "fascist" with respect to the society portrayed in the novel Starship Troopers.
Let's look at how Wikipedia defines fascism:
http://en.wikipedia.org/wiki/Fascism
None of these apply to the society portrayed in the book.
The first item: the sole means by which the government attempted to impart any point of view on the citizens was a high-school class called "History and Moral Philosophy" that was always taught by a full citizen, but which the student was not required to pass. The examples from when the protagonist took the class did debunk some of the tenets of communism, though. (Labor does not always add value. An unskilled cook can take pie dough and apples and produce a burned mess, where a skilled cook can produce a delicious dessert, so the "labor theory of value" in its simplest form is disproven by example.)
The second item: the government did not run businesses. The society operated in a free market. The amount of regulations imposed by the government was never explicitly spelled out, but my impression is that the amount of regulation was low, as discussions of business did not tend to rants about permits or bureaucratic interference.
The third one at first seems plausible, as the book is (in Heinlein's own words) intended to present lowly soldiers in a good light (as opposed to senior generals, Presidents, etc.). However, the government in the book did not promote such ideas. Instead, the government took steps to scare people off from becoming soldiers. For example, having a maimed military veteran sit outside the recruiting station and warn young people that they could get maimed like he had been. (Later, the protagonist meets this veteran again, and he is off-duty and wearing artificial limbs that look real and work about like the real thing, and the veteran's manner is completely changed; he congratulates the protagonist for choosing to serve in the infantry.)
My opinion could be slanted, as I am politically a minarchist libertarian, but the society in Starship Troopers appears to be a minarchist libertarian government. The government is relatively small and does relatively little, and what it does do seems to be mostly confined to defense and police. The common attitude among most of the population is that they want nothing to do with government, which seems unlikely if government was a major force in peoples' lives. (The protagonist's father has not earned the right to vote, and proudly tells the protagonist at one point that he is a third generation non-voter; why would he want to earn a vote? No profit in that, the time is better spent building the business.)
The described history in Starship Troopers went like this: During a time of wide-spread social upheaval, the old governments disintegrated and new ones formed. One of the new governments, mentioned as an example, used "scientific" techniques to pick who would be in charge; it failed. Eventually a bunch of military veterans banded together and began keeping some sort of peace within the area they were able to patrol, and this expanded to become a new system of government. Voting was limited to people who had served at least one term of service in the government. Service could be military but could also be anything else the government needed to have done, such as scientific research. Also, according to their laws, the government had to
lf(1): it's like ls(1) but sorts filenames by extension, tersely
reflected the chauvinism of the nationalist, technocratic exceptionalism of the '50s -better living through chemistry, etc that presaged the rise of the military industrial complex and corporatism masking itself as progress.
Oh, yeah, that's Heinlein, all right, as exemplified by his very next book, Stranger in a Strange Land.
Look, Robert Heinlein was a writer of speculative fiction. The whole damn point was to extrapolate, odd consequences included. Which is why you get such radically different results (Double Star, Starship Troopers, Stranger in a Strange Land, and The Moon is a Harsh Mistress, for example, all having completely incompatible takes on modern democracy) depending on what premises Heinlein was playing with at the time.
Ideally making the point to the thoughtful reader that the reader's society and that society's accepted theories, conscious and unconscious, are just as guilty of absurdities as those explored in the books. But some readers are too dense to notice that, and some are so invested in the propriety of their absurdities that they abandon all rational thought in their defensive denouncements.
Exactly. Starship Troopers was an entirely serious book, with some deep social commentary. Much of the current social morass might have been avoided if it (and similar ideas) had been heeded.
The Starship Troopers movie was a travesty that RAH would have hated!
And the fact that there are many people who agree with you is exactly what makes Verhoven's movie high art. (It's not that Heinlein had nothing to say, it's just that his was a very one-sided viewpoint. The film gives a look at the same ideas from an entirely different axis.)
Showgirls is a film about capitalism. A brilliant expose on naked and ruthless ambition to "make it to the top" through voluntary self-prostitution. As a Dutch person, America's sarcasm detector seems collectively turned completely off. All of Paul Verhoevens films are dark comedies about the big issues of our times (as seen by Mr. Verhoeven), but it seems it takes another Dutchman to see this. The fact that some people only now see Starship Troopers as perhaps somewhat sarcastic blows my mind. How can you miss it?
It's such an obvious critique of nationalism, patriotism, propaganda, the military-industrial complex and jingoism that I really cannot fathom anybody seeing it in any other context.
"Kill 'em all and let Root sort 'em out"