Despite widespread criticism that ‘Rambo’ is flat, has cheesy dialogue and a formulaic plot, ‘Rambo’ has become a household name, a great American icon. What makes ‘Rambo’ different from other action flicks? Why do people continue to flock to the cinemas to watch ‘Rambo’? How has Sylvester Stallone succeeded in forging a distinct Rambo in four instalments? A closer look at each ‘Rambo’ film uncovers the Rambo character formula, yet with natural character progression in every instalment.
In a world where most people grapple with money and politics, John Rambo stands out as a character whose actions speak louder than words. Deadly silent are good words to describe Rambo, but Rambo is unlike other heroes who have agendas (such as Indiana Jones or James Bond). He has laid his life down for his country only to be treated like an exile. In every instalment the audience finds out how his sense of belonging and loyalty are tested. This is the core formula for the Rambo character – what happens when you fight like a hero but have the heart of a mortal man? That is when you get Rambo.
Rambo is introduced as a lonely figure, looking for his friend Delmar who served in the same Vietnam squad. Realising from Delmar’s mother that his last soldier friend is dead, John Rambo wanders aimlessly until he meets Will Teasle, sheriff of Hope town. ‘Welcome to Hope’ is what the entrance sign says to John, but this is ironic. We soon find out there is not much hope for John Rambo in America.
Rambo’s paranoid killer instinct surfaces when the sheriff imprisons Rambo, causing him to flee into the mountains. He soon launches a personal guerilla war on the surrounding police. Has Rambo overreacted? Of course. But his paranoia is matched by American civilian paranoia, shown in the sheriff, who is highly suspicious of John Rambo and wants to disarm him. As Rambo argues repeatedly: “They drew first blood!”
‘First Blood’ ends in a climactic shootout. But more shocking for the audience, is to see Rambo sobbing like a child, pouring out half-complete sentences about his wartime friends. Afterall, John Rambo is a young soldier returning to America his home, only to find that his hopes of regaining a sense of belonging are smashed.
The second film opens with Rambo humbly working in a prison stone quarry. He seems content, responding to Colonel Trautman with: “In here at least, I know where I stand.” Unlike the first film, Rambo has his speech together here. Out of context, Rambo’s words may sound tacky. But in a film with a strong revenge plot, these become powerful words. Sylvester Stallone plays John Rambo brilliantly; his hooded stare and crooked lips carry his speech with meaning. His Arizona drawl works well to emphasise Sylvester’s status as an action hero, not a political one.
Rambo’s loyalty to America is tested further, when he is abandoned under American orders. Tortured by the Russians, John Rambo is told to radio his base. As audiences wonder if Rambo will betray Murdoch, Sylvester delivers the best line in the film: “Murdoch…I am coming to get you!” Rambo wants to rescue American POWs, and wins audiences with his heartfelt gesture.
In every ‘Rambo’ film there is an admirer. In ‘First Blood’, a policeman called Mitch sums it up: “He’s hunting us.” Rambo’s war-scarred body elicit admiring looks from the police. Finally, Colonel Trautman’s dramatic speeches confirm what the audience wants to hear – that Rambo is a top-notch Vietnam war veteran who will not hold back when he strikes. The appearance of Colonel Trautman also reveals a kinder side to Rambo – that people are willing to fight for him. Even Rambo’s superior is in awe of the man!
In Part II, Rambo’s love interest Co is also his admirer: “You made it Rambo!” Later, she tells him touchingly “You are not expendable”. More than just a killing machine, John Rambo is a popular character with audiences because of the empathy he invokes, the underdog role that he plays and the friendships and relationships he treasures. Sylvester Stallone’s Rambo shines for his character, not just the violence.
See the article that examines Rambo III and Rambo: To Hell and Back.