El Demonio Que Hace Trofeos de los Hombres…
Predator is 30 this year, and you know what? It’s still a remarkably entertaining, spectacularly impressive piece of work, and the first of two films from director John McTiernan that catapulted him to the very top of the action genre. Die Hard is arguably the more accomplished of the pair, but Predator is no mere warm-up. What’s particularly great is just how stunningly well made it is – compared to Arnie’s other films of this era like Commando, Raw Deal, The Running Man and Red Heat – Predator stands out in the way it showcases a director with an expert handling of action, suspense, atmosphere and intensity. As much as I love Commando and The Running Man, their direction is merely solid, whereas McTiernan is clearly a filmmaker of exceptional skill and confidence.
Just like Die Hard, it has an dazzling attention to craft. Rare is the Arnie film where you can sit back and truly admire how it is made. Its humid, oppressive South American jungle setting is utilised to remarkable effect – you really feel like you’re there in the bush, with no escape. The camera moves in and around this world and you’re totally immersed. The cinematography, lighting and sound design is first-rate. Also, there’s a claustrophobic, intense and very memorable, all-encompassing score by Alan Silvestri that is loaded with killer hooks.
The plot is utterly straightforward: bad-ass Major ‘Dutch’ (Schwarzenegger) and his squadron of soldiers – all-round nice guy and explosives expert ‘Poncho’ (Richard Chaves), intense, razor-happy medic Mac (Bill Duke), stoic navigator Billy (Sonny Landham), behemoth gunner and self-proclaimed ‘sexual tyrannosaurus’ Blain (Jesse Ventura) and resident joker and communications operator Hawkins (Shane Black) – are sent by untrustworthy colonel Dillon (Carl Fuckin’ Weathers) to the jungle of what (outside of the film) is revealed to be the fictional South American country of Val Verde (as also depicted in Commando and Die Hard 2) to rescue a cabinet minister being held hostage by bad (read that as non-Americans) guys. Once the (failed) rescue is over and Dillon is revealed to have set Dutch’s team up on what could have been a suicide mission, the soldiers – plus Anna (Elpidia Carillo), a hostage from the raid – soon find themselves the target of an alien predator who appears to picking them off one at a time for sport and who can also camouflage itself within the trees. Totally outclassed, the team are swiftly dispatched until only Dutch remains, culminating in a battle between human and alien…
Of course, if you’re reading this review, the odds are you already know the plot, making the previous paragraph a complete waste of time, but I loved summarising the story and I hope you enjoyed reading it. So let’s move on, shall we?
Strangely, despite being what you could reasonably argue is the archetypal Schwarzenegger movie, Predator is a unique entry in the man’s classic era. Rare is the Arnie film where he is part of a team – admittedly, it’s a team that’s wiped out by the end, but he doesn’t stand head and shoulders ahead of everybody else. For the most part he’s one of the guys, even if he is in charge. His musclebound presence is more than matched by most of his colleagues. Also, this is the only film of his, barring Terminator 2, where his adversary poses a serious, lethal challenge. The final act of Predator is a fight to the death, and unlike the no-contest finales of Commando, Raw Deal, Total Recall, etc, you actually fear for his character’s life instead of curiously worrying about the bad guys. Also, has any Arnie film ended with him looking so beaten down and forlorn?
Predator also eschews the traditional Arnie finale, which even at this early stage was becoming recognisable. You know, tool up, kill every motherfucker in the room, that sort of thing. In fact, you could argue that the typical shoot-em-up set-piece that would normally close every other Arnie film takes place a mere twenty or so minutes into Predator. The ambush, where Dutch and the guys lay waste to some cannon fodder in guiltily spectacular fashion could plausibly be the culmination of any other Arnie film. After that we enter new, unexplored territory. The first act, discovery of skinned bodies and quick Predator POV shots aside, plays out as a straight-up action movie. After that, the science-fiction and horror elements creep in. We’re not in Kansas anymore. This is new territory. Okay, if you take the film apart, you’ll recognise elements of Alien and Aliens, not to mention the plethora of post-Vietnam action films like Missing in Action and Rambo: First Blood, Part II, but really, it’s difficult to see the joins.
For me, Predator was one of the first films that acted as an in-road to the horror genre, which I would have been too scared to approach at my early age back in the early nineties. Yes, it’s an Arnie film, yes it has enough firepower to level a small planet and yes, the machismo is through the roof, but when the second act kicks in, it’s essentially a slasher film with bells on. The Predator heat-vision POV material is straight out of the likes of Halloween and Friday the 13th – but by playing around this gimmick, by making the Predator’s vision an essential part of his character and something that can not only be used to its advantage but also to its detriment (see the brilliant “he couldn’t see me” scene), you end up with a truly novel spin on a horror staple that by the late eighties, had become very, very old indeed. True, the whole heat-vision element wasn’t entirely original – you can spot it in embryonic form in Michael Wadleigh’s 1981 horror Wolfen – but Predator ran with it and made it truly iconic.
The violence is also rooted in the horror genre – we’re talking gore here, people. It still packs a punch – it knows when to show stuff and when not to. Some of the worst stuff is left to our imagination, some of it isn’t. Also, the Predator’s M.O is hinted at but not really explored – later films in the canon would tell us more, but ultimately it was all unnecessary. The original Predator is still the best because it pretty much tells us all we need to know, and frankly, it makes his rituals and methods all the scarier. The special effects – cute electrical malfunctioning glitches and one ropey ‘camouflage’ shot just before Hawkins is murdered aside – are still amazing, and Stan Winston’s design for the Predator is, hands down, the best monster the cinema has ever seen. The film brilliantly teases us with quick hints as to just what exactly this creature is – a brief shot here, a camouflaged outline there, a shot of a hand, a trail of blood, and even when we’re very late into the film, it’s still wearing a mask. When that mask comes off…. wow. I mean, what can you say? I mean, you can say ‘ugly motherfucker’ if you so wish, but the design on that face is frankly extraordinary. Utterly repulsive, utterly fascinating and with a grotesquely dazzling attention to detail. I totally believe that I’m looking at an alien, and Kevin Peter Hall’s physical performance adds a hell of a lot too. Incidentally, he also played Harry in the same year’s Bigfoot and the Hendersons (or Harry and the Hendersons outside of the UK).
The action is also tremendously visceral. The film has an arsenal and knows how to use it. The raid on the enemy soldiers is just kill, kill, KILL. Who were those bad guys? It doesn’t matter, they’re bad guys. Just kill them. Shamefully, this scene is utterly thrilling, and we all get off on those shots of evil bastards getting shot up or blown up or stabbed up or whatnot. There’s also the ‘stick around’ dispatching, which, thanks to Dutch’s outright glee during this moment, remains one of Arnie’s most hilarious one-liners. The bit where Mac begins what ends up being an outright destruction of a small section of jungle is outrageously executed. Scenes of preparation and booby-trap setting are gripping (if ultimately hopeless – these guys don’t stand a chance), and the Predator’s kills are still sudden, gruesome and full of impact. One extraordinary bit follows the brief moment of quiet following Billy’s death, when Poncho is suddenly killed (notable for being the only death in the film with virtually no build-up or warning), Anna goes for the nearest gun, Dutch kicks it away and lets rip with a fucking ENORMOUS onslaught of firepower, yelling as he does so, Silvestri’s score banging away all the while and I, the viewer, gripped, pumped and breathless.
Ah yes, the score. Continuing to move on from the synthesised joys of his Delta Force and Flight of the Navigator soundtracks, Silvestri proves to be a master of the orchestrated score, rivalling the splendour of his Back to the Future work and delivering a pounding, militaristic, (surprisingly) sad, chilling and outright frightening array of timeless themes. One of my favourite moments of sound and vision in this film is the camouflage scene. When Dutch thinks he’s found some rest time, after having survived two death-defying drops and a brief but intense swim, the Predator suddenly lands in the river behind him… Dutch crawls up through the mud and awaits what looks like certain doom, but thanks to the Predator’s compromised heat vision being unable to detect him through all that mud, he moves on and walks away. This for me is one of the most gripping moments in the film – true, the script spells it out a bit too clearly with Dutch’s ‘he couldn’t see me!’, a line that I’m surprised the Predator didn’t hear and swiftly react to – but the direction, chilling score and that eerie slow-motion shot of the Predator walking away (don’t know why, but it used to freak me out!) makes it, more than any other moment in Schwarzenegger’s films, a scene where I genuinely feared for his character’s life.
As for the characters, well they’re two-dimensional for sure, but they’re vividly portrayed and acted with gusto – we all have our favourite Predator character, so who’s yours? Dutch is the obvious choice, but what about the jokey, doomed Hawkins? The bad motherfucker (but ultimately doomed) Blain? The ever-so-slightly-crazy but strangely sad-eyed (and doomed) Mac? The no-nonsense, doomed Everyman Poncho? The sixth-sense blessed but ultimately crazy and ultimately doomed Billy? The cynical and bastardly but nevertheless he-was-still-Apollo Creed (and just as doomed) Dillon? Or how about the utterly non-doomed Anna? Mine was Mac. I loved Mac. I felt awful for him. His death always seemed the cruellest. He never stood a chance did he? And he never did have him some fun tonight, did he? Poor sod.
Ultimately, Predator is one of the most purely enjoyable, thrilling genre films of the 1980s – it’s a precision-tooled, perfectly executed and still outstanding experience – its ubiquity (how many times has it been on TV now?) hasn’t dulled its edges. Watching it on a big screen for its 30th anniversary was like seeing it for the first time all over again, and given that I’ve watched it three thousand times already, that’s no mean achievement.
PS: The end credits are a wonderful/hilarious montage of the main players, all of them smiling and/or laughing, as if almost to reassure the viewer, that they’re not really dead, that everything is okay. The one of Sonny Landham as Billy is amazing.
PSS: A few years back, my good friend Mark and I recorded a commentary to listen to whilst watching the film. You can listen to it/download for free by clicking on the relevant link to the right!