A vision of technofascist America

“Robo Cop” – Paul Verhoeven

Paul Verhoeven’s science fiction experiments are regularly revisited by fans around the world, with films such as Total recall and hollow man Maintaining a steady cult following over the years. However, none of Verhoeven’s subsequent projects has surpassed the brilliance and socio-political scope of his 1987 masterpiece RoboCop.

While it’s easy to pigeonhole action movies based on genre frameworks, RoboCop has stood the test of time because it overcomes these limitations. It feels as urgent for modern viewers as it died for audiences when it first came out 35 years ago, and offers a gripping cyborg thriller while delivering incisive commentary on the formation of police states.

Set in a futuristic Detroit where crime and corruption dictate society’s conventions, the film focuses on the journey of a recently transferred police officer named Murphy (Peter Weller) whose body is mutilated by a gang of criminals aided by powerful figures . Thanks to advances in technology, he’s resurrected as the titular cyborg cop who’s the ultimate crime fighter in Detroit.

For those who watched RoboCop When they were kids it might have seemed like a loud and somber movie with all the weapons, but Verhoeven’s movies are always intelligent. He exaggerates the on-screen violence so much that everything becomes hilarious, especially that particular scene where an “intelligent” robot perforates a company board.

From a battle droid struggling with a staircase to managing environmental issues shown through a criminal smelting into toxic waste. RoboCop Has everything. In an interview, Verhoeven even claimed that the film is a biblical allegory in which a cyborg police officer is the future incarnation of an American Jesus.

Verhoeven explained: “I started to look at the film in that way – and I’m not a Christian. That was one of the reasons I let RoboCop walk on water when he ends up killing Clarence Boddicker, the villain. I felt like he was like the American Jesus – while Boddicker is evil personified. We even gave Boddicker glasses to make him look a bit like Heinrich Himmler — to show he’s ultra-evil.”

Like other 80s classics such as Bladerunner, RoboCop also grapples with posthumanism, anticipating a future in which the physical union of technology and humanity is inevitable. Murphy’s bio-engineered transformation into RoboCop evokes the age-old philosophical paradox of Theseus’ ship – and challenges the audience to discover if beneath all that shiny metal was a human.

Through the story of a robot that dreams and has memories, Verhoeven navigates the wasteland of a morally and politically corrupt America. Combining solemn moments of concern about the future of our civilization with satirical vignettes that tear apart the delirious American fantasies, this film is quintessential cyberpunk art.

RoboCop is a scathing indictment of America’s obsession with techno-fascism and a religiously militarized police force. Given the current discourse of police brutality and authoritarian control in the US, it is tragic to claim that Verhoeven’s masterpiece is more relevant than ever.

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