If there is anything Hollywood hates more than anything else, it’s fascism. The reason is very simple: fascism is de-humanizing and with Hollywood being obsessed with humanism, this makes fascism very evil. So they have to tell their audience just how very evil fascism is every few years. Usually this means making a movie about Nazis or the Ku Klux Klan, but more likely a movie about Nazis: you can have more kick-ass explosions that way so as to ensure that your audience is not only impressed, but also thoroughly distracted from a rational approach to the subjects of your film.
Every other blue moon or so, Hollywood actually gets creative enough to make a satire (something a bit more complex than just the straightforward goof-ball or sex comedy), and wouldn’t you know it, in the Fall of 1997 they did just that: they made a big satire. To be more precise they made a satire about fascism called Starship Troopers. The originality is just a thin veil here and it is quite obvious that the message still is: “just reminding you of how evil Nazis are.”
The only bit of true originality here is showing this tired old viewpoint from an unconventional point of view. That is the one truly good thing about this otherwise routine film.
However, given the typical film audience, they’ll be lost in the rest of the film’s spectacle, which is confined to the extensive special effects – sights and wonders meant to keep the brain confined to the predetermined arena of thought. All in all, this ends up being just another serving of the same old fodder from Hollywood.
The very first sequence of the film shows us an eagle logo and a propaganda commercial encouraging young men and women to sign up for military service. The soldiers pictured all wear grey uniforms and that eagle logo is their outfit’s main emblem, thus from the very start it is not hard to put two and two together.
The film then cuts to a battle scene as seen by an embedded news crew. Things quickly go bad, as some horrifying huge insects start to dice everyone up. Eventually we see one of the wounded soldier’s points of view as one of those bugs jumps on him, with his scream the shot fades to an image of space with the title card: One Year Earlier. However, as the shot pulls back this view of the stars is next seen to be a computer screen on which a student is drawing. Aside from the flashback being a relatively standard way that movies employ to build suspense, this shot suggests an engineered reality. Namely, the news crew’s imagery and the scenes of the battle have just been juxtaposed with a student’s doodling in class – it’s all screens and not reality.
This theme of staged and fake media is apparent throughout the entire film. There are frequent news flashes as part of the story and just like the opening propaganda ad, they seem very staged. Even when Johnny Rico, the main character, talks to his parents via video-phone, or when he gets video-mail from his girlfriend, the shots seem deliberately staged. And not staged by the people Johnny is talking to or gets a message from due to them standing far away from the camera and some pretty unconvincing acting; the whole event seems deliberately and hastily put together like a cheap film. Now, some films have bad acting, but with these media sequences it’s too consistent to be an actor’s fault – so either the director specifically wanted crappy acting or edited the bad takes into the final cut – the pattern is intended.
One media clip shows a missionaries’ outpost decimated by the Bugs (mankind is at war with this arachnid species) and there are numerous close-ups of mutilated bodies. This raises two questions: if the planet was crawling with the Bugs, how did the missionaries go so far as to set-up their outpost? Wouldn’t they be attacked pretty much right when set foot on a hostile planet? And how is the crew filming so much footage? It all looks like it may have very well been staged to further the constant message of “fear the Bugs.” After all, with such a large war and with so much high-tech (and expensive) military equipment, it would be very inconvenient to not ever have a use for it.
Not Exactly Fascism Either
Well, as it turns out, this vision of the future is actually a vision of Zion. In the aforementioned classroom, where the student, who ends up being Johnny Rico, was doodling, there is a philosophy class in session. Professor Rasczak giving the lecture makes on point very clear: “When you vote, you are exercising political authority, you’re using force. And force my friends is violence. The supreme authority from which all other authorities are derived.” In this world, only citizens can vote and citizenship is granted after military service with the idea that those selfless enough to put their needs aside for the preservation of the human race can make the best decisions about things. A seemingly good idea, but there is something critically wrong with the definition of “violence” used. Violence is not force, it can be, but at its root it is not. Violence is a “lack of consent” – the truest sense of the concept of violation.
Rasczak also describes how democracy failed and the military veterans swooped in and created the current order that has kept stability for a long time, presumably several generations. This draws a parallel to the film Equilibrium where there is a strong suggestion that the war that brought about the creation of Libria was engineered so that a Zionist system could be put into place with the impression that it “saved” humanity from total destruction. In this film, the background course of events is also the “order out of chaos” routine, however, in this vision of Zion there is less flavor of 1984 as in Equilibrium and more of Brave New World as there are enough pleasurable distractions in the Federation so as to make no real need for a brutal, ever-present police force. Still, the root of this fictional state is un-Aryan and therefore not National Socialist, and so the film’s satire of the Third Reich is just spawned from ignorance. “Fascism” (as seen in Hollywood movies) is the ZC approved version of National Socialism as it exaggerates certain traits (e.g. militarism) making them seem all pervasive in their most basic form, distorts some of them (e.g. duty) giving the impression that people are motivated by promises of greater comfort and/or fear, and just outright lies about the rest as we see in the society’s approach to science and the military. There is no mention of Aryan ideals, let alone how people can work to achieve those goals, which is something that Adolf Hitler made a major, if not the most all-encompassing, part of his platform as Führer of the Third Reich.
With all of this in mind, the film is really not a satire and we can see that it was not really made out of ignorance, at least not on part of the producers. The director, Paul Verhoeven, may very well be a useful idiot who grew up “hating Nazis” and was employed for his approved views and ability to put a film project together, however the producers in Hollywood, from whom the $100 million budget came from, knew what they were doing. They presented a careful distortion of the thing they fear most.
For a large future state that seems to be enjoying prosperity, it’s quite odd that its approach to science is so base and primitive. Right after the philosophy lecture, the students go to a science class where they dissect large bugs. Not the ones the humanity is fighting a war against, but also a species alien to Earth. The professor here, a stereotypically geeky looking science teacher, is talking about how wonderful and perfect examples of evolution these creatures are and names that one of their admirable traits is the ability to reproduce in large numbers, thus ensuring the survival, or rather preservation, of the species. This idea is a key as it is an apt concision for the principle motivations of the Human Federation and this is another element that makes the fictional state thoroughly un-Aryan – one of the film’s planned distortions or National Socialism, which challenged such notions from the Old Testamant, aka the Tanakh.
Next, there is a scene where Johnny and his friend Carl are attempting mind reading and psychic tricks. In the background is a picture of Albert Einstein, who has been hailed as a king of reason and has become the face of scientific progress during the 20th Century. Only Jews and their dogged Gentiles would boast about such a man who was nothing more than a thief, liar, and plagiarist. Carl then places a kernel of popcorn at the entrance of a maze and watches his pet ferret navigate its way out and eat the little treat. He says that he trained the critter for this and even shows that he can “dispatch” it to run upstairs and annoy his mother. The ferret goes upstairs because Carl has conditioned it to believe that there is a treat up there. Carl states in this scene that he wants to experiment on people, the card trick he attempts with Johnny is his own pilot project for this goal. Effectively, this brief episode is an allegory for the rise of Zion – from controlling small creatures and then working its way up to dominating mankind. The appearance of Einstein suggests manipulative Jewish science, more than anything else, and of course, in this scene they are basically doing the classic carnival card trick, the only thing that’s missing is the “pay to play” robbery scheme. With Johnny getting every card wrong (and Carl even making fun of him for it) he would have lost a lot of money.
Of course, the filmmakers didn’t intend this scene to be read this way – Einstein is practically a saint to scientists – and the intention is to show the audience how cool all this is. Things get even more ridiculous as we see military science and technology.
For a state that was founded by veterans and is in a life-or-death war against another species, which is very adept at combat, the Federation’s Military is absurdly insufficient. We start at basic training and first get our obligatory scenes showing us just how evil and brutal fascists are: Drill Sergeant Zim breaks a recruit’s forearm and pins another recruit’s hand to a wall with a throwing knife just to make a point. It is procedural for military instructors to take their recruits to their max in physical endurance, but this is just absurd. Military training is just that, training – the teaching of skills – not blunt sadism and pointless machismo. Added to the fact that such traits are the base Gentile tribal preservation mechanisms and would have no place in a true Aryan National Socialist State.
The characters in the film can be seen on the right of the above photo with one exception: there are no white supremacists in the film, which is a good thing (and true to authentic NS), but everyone is still brutishly stupid. Also, the Federation’s military is so equal that even women train alongside men. While it is true that women are very able to serve in the military, even in combat roles, but full training equality is absurd. This goes back to the fundamental anatomical differences between the sexes and in the real World, to this day, basic training is kept gender segregated for this reason. Note that even sports events have different categories for male and female athletes – this is a fundamental fact of nature, but Zion apparently thinks that it can break it or convince us to break it. Well, as with most things, it’s a lie.
The training that the recruits do is also fairly ridiculous. Not only does the basic training facility look like a cheap movie set (continuing the media deception theme), but the recruits engage in no exercises that seem anything like the real combat that they will go on to face. Boot Camp cannot fully simulate combat scenarios, but they should at least engage in drills that resemble fighting giant bugs. Here, they play capture the flag with laser-tag guns and do a live-fire exercise that is so ridiculous that an accident that happens (a recruit gets his brains blown out) should have been seen from a mile away. Also, the instructors should have been considered negligent for authorizing such a thing.
Things get even worse when we find out that the Federation’s scientists actually know how to effectively combat the Bugs. Carl, who went into Military Intelligence, appears in a media clip, and this scientist quickly and effectively blasts a Bug’s limb off and then gets a kill shot, while shooting from a distance at a Bug in a cage. He even says, “here’s a tip, aim for the nerve center for a quick kill” before killing the caged creature. It sounds like he’s giving advice on how to beat a video game. Not surprisingly, we next see a propaganda ad with kids squashing roaches as their mother fanatically cheers them on. Killing bugs, it’s just “kid’s play.”
More Than A Bug Problem
This is then very much contrasted in the film’s long and extremely gory combat scenes where apparently trained soldiers can’t kill the Bugs in any sort of swift way, thus proving their training was poorly designed. Carl took out the caged bug in two quick, well-aimed bursts of rifle fire, but the troops in the field literally spend hundreds of round on just one bug. And there are swarms of these things.
What’s more, is that the Federation’s military seems to fight by 1915 standards: deploy soldiers to a field, line them up, and charge! No tanks, no air support, no artillery, just rifles, grenades, though they do have nuclear powered bazookas. Once again, the educated National Socialist will see past the folly of this Zionist slam on what was without a doubt the best designed military of its time. The only one that didn’t resort to blunt force trauma in both of the wars that have been used to label it as “infamous.” If anyone still doubts that this is a slam on the German Reich military, then may they read this trivia entry from IMDb: Nearly every military uniform has WW2 German military and SS paramilitary uniform references. This is confirmed by director and writer commentary on the DVD.
And here we can see the shoulder boards of the Federation military uniforms.
In addition to the training, the general activity and military culture that the soldiers engage in warrants mention. When Johnny meets up with Carmen, who had gone to flight school, he is a bit jealous of her co-pilot, Zander who just so happens to be a former sports rival of Johnny’s. The main thing here is the fact that Zander also clearly likes Carmen and proposes that he and Johnny duke it out to resolve their differences. Zander is clearly drunk in this scene as he hands off a whiskey glass to Carmen before the two start fighting in the middle of a crowded bar. Considering that Zander is an officer, this is absurdly poor conduct and would have seen him demoted if not booted from the service. The fight ends without another officer breaking it up (oddly, there’s none in the huge crowd) and the two brawlers go their separate ways. To be more precise, Johnny goes to a tattoo parlor with some of his comrades and they all get skull tattoos with “Death From Above” written on them – another base reference to the Schutzstaffel and its Totenkopf insignia.
The film’s first major combat scene, which is also part of the introductory sequence from which the film cuts to “One Year Earlier” as a soldier sees his last, shows us that said soldier is actually Johnny Rico at the end of a disastrous assault on a bug planet. Johnny is listed as KIA yet we see him to be alive in an advanced healing facility, more specifically in a pod that resembles a womb in which he floats and is reconstructed from his injuries. This also serves as another indicator of technological absurdity – advanced healing technology contrasted with the pitiful weapons technology that the soldiers use. However, there is another thing at play here: Johnny may very well be dead and living out a dream as this seems to suitably explain the rather ridiculous, happy ending. The film’s ending is also shown as a media event, and we already know that all media in the film is staged. Thus, Johnny is dead, but reborn via media propaganda and this allows him to carry out some of those crazy heroics that we see him do: like single handedly taking out that thing in the background.
On the day that Johnny, Carmen and Carl agree to sign up for military service, they promise each other that they’ll “always be friends.” Given the large scale events that go on throughout the movie, the events that bring them together once again, are fairly far-fetched and seem more like a dream playing out. A dream where ZioFascism triumphs over disgusting bugs – Johnny’s own media-deluded mind is just playing out a fantasy.
The reporter who dies in the very beginning of the film, and later when the sequence replays from Johnny point-of-view, is also the only one in the film who questions the purpose of the war on the Bugs. The invasion in the film starts when a large meteorite destroys Buenos Aires. We get the “news” from one of the many media clips throughout the film and it is obviously engineered with fire graphics to make an impression. Then graphic clips of destruction are used to pump everyone up for a war. It is pretty ridiculous to think that a meteor, from half a galaxy away, could be set on a course to impact Earth. Given the anti-meteor technology that the humans have (boasted about in one of the media propaganda clips), it makes one wonder why it conveniently failed to work this time. The one reporter who questions the Bugs’ real motivations (the same one who gets diced in one of film’s more graphic deaths), says that the Bugs only attack human settlers after they’ve stepped onto a Bug planet – hence, with the Aryan definition of violence, it is the humans who are guilty of it here and it is initiatory violence, which makes it all the more un-Aryan and not true National Socialist. This key part is, of course, not addressed by the film and we just see pumped up ZioFascists scream “kill ’em all!”
This was meant to be a slam against National Socialist militarism, but it obviously is just a self-defeating flop from ZC Propaganda Inc. The film wasn’t a hit at the box-office so at least this is one pack of lies that ZC didn’t profit from. However, due to the high gore content, as well as some nude scenes, this film has found a niche in cult following and several video game versions have been made as well. Basically, something dumb has been made dumber, but with the current low state of the World’s masses what can you really expect? The film just focuses on blunt sensationalism. Director Paul Verhoeven was born in 1938 in the Netherlands and thus had first hand experiences with the Third Reich and direct exposure to National Socialism. However, seeing that he was just a young boy, it is no surprise that the unrelenting Allied propaganda plan lead him to pretty much misunderstand everything that was going on around him at the time. The impressionable young mind of his was then molded by decades of Zionist propaganda that made each and every hardship suffered during the occupation and war years seem like deliberate German treachery.
This film version also deviates considerably from the source novel, which goes into much more depth and discussion of the fictional world, the politics and philosophies of the Federation and the like. The book is often called more daring than the film for it examines much more thoroughly the concepts and potential values of militarism (instead of just straight up vilifying it), but it is still far removed from being an Aryan literary work as it doesn’t really see any ideals let alone provide thoughts on how to work toward them as Hitler and the NSDAP did. It also suffers from some heavy bouts of traditionalism, however the book is another story.
Verdict: The film is a calculated reverse bluff from the minds of Zion. They try to show the audience how evil “fascists” are, but by breaking their empirical information monopoly, it can be seen that the Zionists are just trying to cover their own asses. And they fail.
Read the much better book for a much better examination of a workable Third Position state and society.
Starship Troopers: The Merits of Militarism – review of the 1959 book