by Despite all the attention Paul Verhoeven’s STARSHIP TROOPERS received when it came out in 1997, it didn’t look like the kind of film that would start a franchise. Audiences either loved or hated it. Those that loved it and still do view it as a cult classic. Those that hated it panned and derided not only Verhoeven s interpretation of Robert A. Heinlein’s novel originally targeted at Young Adults but also the classic science fiction author and the genre as a whole. With the novel, this was debatable. But with the film, it was most likely because they didn’t understand the humor and made a bad mistake: to take it seriously. From this background, Ed Neumeier, writer of the original film, developed two more scripts. The second installment was strictly for fans but when Neumeier directed the third film, the odd franchise with its animated films, video games and what not, saw an actual development that contributed to the bigger picture.
What can be expected of a franchise that sees its follow-up films brought out as direct-to DVDs? With STARSHIP TROOPERS 2: HERO OF THE CONFEDERATION (2004), the answer is simple: not much. The film was aimed at fans of science fiction action that weren’t concerned much with the political and moral undercurrents in STARSHIP TROOPERSS or the extensive changes made when the material was brought from book to screen. Written by Ed Neumeier, it’s an action film that dwells on heroics and the predator-like intelligence of the bugs. Neither of the characters from the original film appear. Not that they’d be missed much. Part of the appeal of the original cast was that they appeared like common people dealing with the situation at hand but nothing more. With the second film, those familiar with Neumeier’s script invariably wondered what happened to the subtext and social criticism he established in ROBOCOP (1987) and carried over to Heinlein ‘s work to turn it into effective satire. Luckily, and for reasons difficult to fathom, Neumeier received another shot at the material. This time with even more options by also taking over duties by directed the film. Strangely, the film is ambitious, it wants much more than should be expected of it. And also more than it could possibly deliver, given its limitations.
Casper Van Dien reprises his role as John Rico, who’s advanced through ranks during the Bug Wars and now is a colonel. Except for the title, Rico looks and is the same man we know from the first film (if maybe in great physical shape, admittedly). He’s a loyal soldier, doing his duty without asking too many questions and nothing else as it seems, and only stands up against misuse of power. Fans should be pleased about his return but Rico isn’t the protagonist this time. The void left by three characters from the first film is filled by three new faces. General Dix Hauser (Boris Kodjoe) is a bureaucrat and old friend/acquaintance of Rico’s, sharing a love affair with Jolene Blaloch as Lola Beck, captain and pilot. Within their relationship, Lola is much tougher and capable, something supposed to lead us into assuming that Hauser is a spineless opportunist. They come to Roku San, where Rico and his Starship Troopers are fighting the bugs, as support for Sky Marshal Omar Anoke (Stephen Hogan), who’s the pride and glory of the Federation. Military leader, role model and – you guessed it – pop star and singer of patriotic, catchy hits: Anoke is the epitome of the ideal man in this society. And Hogan, an unknown actor, impresses with the best performance in the entire film that should’ve earned him subsequent parts.
After making extensive and well use of the satirical advertisements known from the first film, we’re brought to Roku San. Yes, it’s a bug planet, yet not much to look at. Clearly, this is due to a tight budget, which also shows in the animation of the bugs. Eleven years earlier, they looked much better. But while there’s a lot of action initially to please fans also filmed with budget in mind, this isn’t what MARAUDER is about. The Sky Marshal, the prime example of the Federation’s principles, turns out to have found spirituality. But not the kind of spirituality we’d expect. The plot twists aren’t bad but then it might occur to anyone paying close attention that the Starship Troopers’ defeat at Roku San could have something to do with Anoke. Hauser plays his part in blaming Rico, who’s sentenced to death yet repurposed and suddenly and unexpectedly degraded to a minor character. Captain Beck is supposed to carry the brunt of the film after she lands on a bug planet together with Anoke and a limited crew. But Blaloch’s acting just isn’t strong enough, her character not genuine enough to steal the show from Anoke. In his subtleness, his ostensible control over an uncontrollable situation, you realize the man is so right he’s left. His spirituality appeals to Holly (Marnett Patterson), a stewardess putting all her hopes into God despite the absence of any spirituality within the Federation. But Holly doesn’t realize Anoke’s worshipping a different god.
Specialization is for insects.
Robert A. Heinlein
Neumeier’s idea to utilize the brain bug that has been captured at the end of the original film is brilliant. A space slug that compels Anoke to convert to the bug religion in order to strive for peace between the two races. This is both disturbing and also a stab at blind devotion to religion. Of course, this is a difficult and delicate topic. In this case, we wonder why a man as strong and respected, as powerful an well-trained as Anoke, would ditch his beliefs and replace them with those of the bugs. The brain bug is messing with his mind, making him believe the uber-bug by chance living on the planet they later crash into, Behemecoatyl, is the one true god, the savor of the entire universe – and still believes so when Behemecoatyl conveys its true intentions to him. Caught somewhere between devotion and madness, Anoke expresses a lot, in particular that individuality is essential to human existence. But what to make of all this when considering the bigger picture, or if this should be taken seriously at all, is a matter of personal taste and interpretation.
A great portion of the film deals with Anoke’s Exodus, so to say. In search of a Federation outpost, they wander the bug planet, only to find Behemecoatyl. The action isn’t crucial here but the visual language Neumeier suddenly deployed. The group is filmed wandering through the mouth of a dead bug in the desert. When Holly prays to God to be saved from the uber-bug and the Marauders land, they look like a halo around her head. And when the converts are saved and the Marauder Rico controls throws God’s wrath on all sinners and Lucifer himself, the machine gun looks like a cross. Neumeier is picking up religious images and epitomes here, making it even more complicated to analyze this film. The Marauder battle suits are taken from Heinlein’s novel, a novelty that had been dropped from the original film. They’re exoskeletons giving soldiers superhuman powers, strangely developed secretly and not put into service for reasons we can’t really understand. Seven soldiers descent from heavens and easily defeat the bugs. In the bible, there’s only four angels mentioned by name, Michael, Gabriel, Raphael and Uriel. They serve different purposes. Michael is the soldier. In conjunction with Islam and the Jewish Torah, there’s more. With Jophiel, Samael and Sandalphon added from the Torah, there’s seven angels. Or Marauders. Coincidence, you ask? Probably not. During the Conquest of the Americas, religion, conversion and the adaptation of alien culture proved to be a double-edged sword. By using the Q-bomb, the Federation kills the material bug god and installs the Christian God again after having killed him before. At the latest when Neumeier repurposes Michelangelo’s Creation of Adam, we understand that MARAUDER has much more to offer than those watching an action film might care for.
With STARSHIP TROOPERS 3: MARAUDER, Ed Neumeier offered a fresh approach to material that looks shallow and cheap at first glance but offers much more. In fact, it wants more than it could possibly deliver, but all the undercurrents and subtext never spoil the fun to those that came for bug-killing action. Not the entire cast is convincing, and the plot is no always transparent. Also, the return of Rico is, despite Casper Van Dien’s best efforts, a bit of a disappointment. But nevertheless, the third installment is on par with STARSHIP TROOPERS. One is more fun and the other strangely intellectual under its surface. If you look past the meager special effects, you might be surprised what MARAUDER has in store.
