Not simply in terms of its action set pieces but in its portrait of America as a place where the frontier mentality lives on just beneath the surface. Red Dawn holds up surprisingly well today. Yet this grit has served as a preservative. At great cost, they discover the most dangerous enemy of all is their own paranoia.Īs with Conan and Apocalypse Now, the air of unrelenting doom is an acquired taste. The college kids fighting the invaders begin to lose their trust in one another. Reynolds had conceived of the film as psychological thriller more than blood-and-thunder action flick.The vibe was Lord of the Flies by way of Kubrick’s Paths of Glory.
Because this isn’t going to be fun to watch.’” Enjoy getting laid and write another script. “My advice is to take the money you have and spend it on a young girl.
“I brought the writer in and said, ‘This isn’t going to be easy for you to take because, you know, you’re kind of full of yourself, but I’m going to take this and I’m going to make it into my movie, and you’re just going to have to sit back and watch, and it may not be too pleasant,” Milius said to Creative Screenwriting. Ten Soldiers was a disappointment for him as Milius essentially redrafted the entire script. Reynolds would go on to direct Robin Hood: Prince of Thieves and Waterworld. The script had been hashed together by budding screenwriter Kevin Reynolds while still at film school. Red Dawn was originally titled Ten Soldiers. The sharks took the rest.” Simply reading those words brings on goosebumps. “Eleven hundred men went in the water,” says Flint. The magic comes from Milius’s blunt poetry as much as from the actor’s gripping performance. Shaw’s monologue is among the most chilling in cinema history. He demurred but agreed to help out with the problematic scene in which Robert Shaw’s captain Flint recounts the shark attack on the stricken crew of the USS Indianapolis at the end of the Second World War. And he’d been offered the job of penning the script for Steven Spielberg’s Jaws. That broken rhapsody was hardly a chest-beating celebration of American hegemony. Milius had also written Apocalypse Now for Francis Ford Coppola. Invariably, they are only interested in their own aggrandisement (obviously this has zero relevance today). Conan’s ultimate message is that we should beware of charming charlatans promising the sun and moon. And under the brawn and the blood, it’s a serious meditation on political power and legitimacy. But it begins with a quote from Friedrich Nietzsche: “That which does not kill us makes us stronger”.
Schwarzenegger, wearing a glorified nappy, defeats James Earl Jones and his terrifying hair extensions. At one level, this was a muscle-bound fantasy romp. He had come to Red Dawn from 1982’s Conan the Barbarian.
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