Red Dawn is a trashy, silly movie that seeks to whip up a little bloodlust in all of us. It proposes that the Soviet Union has invaded the United States, and concentrates on the efforts of a small group of renegades in the Colorado mountains to overthrow the invaders.
The group consists of a bunch of teenagers who fled to the hills the morning of the attack. Their hometown of Calumet becomes a village controlled by the Russkies, where insurgents are rounded up in the local drive-in movie theater and “re-educated.” From their mountain command post, the teens develop guerrilla skills and strike back.
This sounds like nutty stuff, and it is, but the first few minutes of the film are promising. We see the high-schoolers going to classes, everything normal, except maybe for the sound of distant planes. Then we casually notice that some paratroopers have landed, and then—suddenly—it’s on, folks, World War III, the big one.
It’s an exciting sequence, with battle action aplenty as the kids jump in a pickup truck and speed away. The movie quickly degenerates into a collection of different methods of blowing up those Commie rats, with not much time out for the felicities of characterization.
Red Dawn is the work of John Milius, a renegade figure in Hollywood. He’s a film-student pal of many of the young directors (he co-wrote Coppola’s Apocalypse Now), and he showed some interesting directorial moves in his debut film, The Wind and the Lion. (He showed little of anything, though, in his most recent movie, Conan the Barbarian.)
Milius is notorious for his conservative politics, his reverence for guns, and his predilection for hard action. All of these concerns are well served in Red Dawn, almost to the point of hysteria.
The Milius philosophy may be presented most clearly in the moment when the guerillas decide to execute one of their own guys (he betrayed their location). Faced with the prospect of shooting down a former comrade in cold blood, someone points out that if they do this, “What’s the difference between us and them?” The hero turns a beady eye to this. “Because,” he says, cocking the gun and aiming it, “we live here.”
Milius serves notice every now and then that he’s not unaware of the ambiguities of this sort of statement, but still the movie works best as a rave-up revenge piece.
The most recognizable of the guerillas are Patrick Swayze and C. Thomas Howell, who seem to have some sort of tandem acting agreement, since they were together in The Outsiders and Grandview, U.S.A., too. The rest of the Wolverines—they take their name from the high-school sports mascot—consist of stock types from war movies, although there are a couple of pleasantly hard-nosed girls (Lea Thompson and Jennifer Grey), given to the Wolverines for protection by their uncle (Ben Johnson).
By the way, Red Dawn is the first film released with the new PG-13 rating, which suggests more stringent parental watchfulness over their sub-teen children. The new rating went into effect after the hue and cry over the comic-strip violence in Indiana Jones and Gremlins. Unfortunately for the huers and criers, the system seems to be backfiring already: Red Dawn might previously have gotten an R rating for its violence, but now it fits right into the PG-13 category—after all, it’s got no sex or foul language in it. And so the war goes on.
First published in the Herald, August 13, 1984
I forgot about the PG-13 milestone. Nice to see that the system was already completely flawed. This movie looks pretty accomplished next to the remake, which opens a few days from when I type this.