Directed by:
George P. CosmatosCinematography:
Jack CardiffComposer:
Jerry GoldsmithCast:
Sylvester Stallone, Richard Crenna, Charles Napier, Steven Berkoff, Julia Nickson, George Cheung, Andy Wood, Martin Kove, William Ghent, Dana Lee, John Pankow (more)VOD (2)
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John Rambo is removed from prison by his former superior, Colonel Samuel Troutman, for a top-secret operation to bring back POW's still held in Vietnam. Rambo's assignment is to only take pictures of where the POWs are being held, but Rambo wants to get the POWs out of Vietnam. Teamed up with female Vietnamese freedom fighter Co Bao, Rambo embarks on a mission to rescue the POWs, who are being held by sadistic Vietnamese Captain Vinh and his Russian comrade, Lieutenant Colonel Padovsky. Rambo falls in love with Co Bao, and when Co Bao is killed by Captain Vinh, Rambo wants revenge, so he starts killing every enemy in sight while still focusing on his intentions to rescue the POWs. There are also corrupt American officials involved in the mission, including Marshall Murdock, one of Rambo's superiors. (official distributor synopsis)
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Reviews (12)
This is an installment I've seen before and I thought this was the actual first Rambo. Now I know my mistake, and I'm quite glad that I clarified this chronology. However, the second film is probably more well-known, partly due to its parodies, such as Hot Shots! Part Deux. Sly and James Cameron wrote a script that isn't just a shallow slaughter; there is something more to it. John Rambo is no longer a man who needs to come to terms with the dark shadow of Vietnam; he must now deal with the consequences of the previous film. But he may pay too high a price for their freedom.
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The second installment is clearly the most cerebral work about John Rambo. On the other hand, it is so beautifully crystal clear in its humor ("Rambo, you made good choice") that it has an irreplaceable place within the series. It's never going to be the best Rambo film (that's still the luxurious fourth Rambo for me), but the honestly acknowledged comedic parts and its indelible imprint on pop culture are what make the second one the second one. "What you choose to call ‘hell’, he calls home."
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Rambo destroying computers with a shower of lead is one of the most beautiful mementos of the 1980s, as if Stallone was taking revenge on what would destroy his beloved genre. Paradoxically, in terms of psychology and ideas, the second film doesn't seem so far behind the (already quite retarded) first film, even though, instead of subjective nostalgia, programmable agitations are coming out of Rambo's mouth at the end. Cosmatos's film fits much more into the archetypes of the action 1980s and is irresistibly wooden and theatrical (or entertaining) in the most heated moments. The number of explosions is enormous, the pilot of the largest possible Soviet helicopter has not one red star on his helmet but two (so there is no confusion), and a POW with a machine gun in his hand, as if to remind the viewer of the beautiful ideological mishmash that ruled action Hollywood at the time. Can such a film not be loved even a little?
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It's all here - action, corpses, Rambo's stone expressions, blood, of which there is much more than in the first one. Unfortunately, however, there is noticeably less quality filmmaking. The producers tested the audience's reaction with the first film and found that a significant part of moviegoers fall into the category of teenage boys, for whom this is simply enough. The film also had a strong propaganda dimension in the mid-80s, which today can only evoke an indulgent smile. Overall impression: 20%.
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Even though Rambo: First Blood Part II, with its mission to rescue America’s self-confidence after the debacle of the Vietnam War, seems rather ridiculous from today’s perspective, it has two strengths that cannot be denied. The first of these is the outrageously honest craftsmanship of the action sequences. Though the film’s anti-choreography and concept of guerrilla spec-ops combat come across as quite laughable, all of these drawbacks are offset by the precise topography of the action, the dynamic editing and, mainly, the superb camerawork, which ceaselessly emphasises the real physical dimension of every shot (the composition with the view to the protagonist from inside the helicopter cabin with the landscape in motion in the second plane behind the glass was definitely copied by Tom Cruise’s team in Mission: Impossible – Fallout). The film’s other strength is its indisputable status as a pop-culture phenomenon, which is based on rare, inimitable harmonisation of the work’s ethos with the audience’s mood at the time. Though critics on both sides of the Iron Curtain slammed the film, it set box-office records in the West (both in the US and in Europe) and it enjoyed even greater success in cultural terms in the Eastern Bloc through illegal underground distribution, though of course without the financial gains. The bellowing hulk with a strip of cloth tied around his head, armed with a bow and explosive arrows, and killing cartoonishly depicted commies became the embodiment of the ideal of America at the height of the Cold War. Rambo wasn’t Superman or any other particular hero with specific traits and virtues, but like the Berlin Wall, the film concentrated within itself the mood of the decaying Soviet system and a society that had grown tired of the stalemate and the status quo. Whereas in America the film soothed the ego of conservatives and licked their wounds after losing a war, in both Western and Eastern Europe it represented an energising fantastical pressure valve for a frustrated society. Rambo: First Blood Part II became both an icon of and a synonym for its era and it remains embedded in society’s memory even in the new millennium. But everything written here refers solely to this particular film. Because of that and despite all of Stallone’s misguided attempts, none of the sequels can build on that legacy with all of its meanings, nor can they repeat its box-office success.
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