Ted Kotcheff’s First Blood from 1982 celebrates its fortieth anniversary on October 22nd. Let’s take a look back at this beloved flick. Sylvester Stallone of course plays the lead of John Rambo in one of his most iconic roles. Stallone also co-wrote the script, based on David Morrell’s novel. Though from what I understand, the film’s story is fairly different from its source. Ostensibly an action movie, its somber tone, and themes concerning the alienation of Vietnam vets and PTSD give it the heavier airs of a drama. I enjoy all the sequels, to one extent or another, but this first one has a classier vibe that broadens its appeal. It’s notable that this film helped propel indie production company Carolco Pictures to dizzying heights in the ‘80s.
The film begins as the warm but haunted Rambo discovers that the last member of his elite Green Beret team has been dead for some time, killed by Agent Orange-induced cancer. The war still stretching out from the past to exact a bitterly ironic toll leaves Rambo shaken. Adrift in his thoughts, he wanders until he comes upon a small town in Washington. There, he is mistaken for a drifter by Sheriff Teasle (Brian Dennehy, convincing as an asshole unwilling to admit mistakes). The sheriff aggressively insists that Rambo steers clear of the sleepy town. The soldier is in a fragile place mentally, though, and defies the backwoods cop, earning him an arrest.
Rambo doesn’t cooperate during booking and incurs the wrath of officer Galt (Jack Starrett), who goes too far in his attempt to bend Rambo to his will. Experiencing a flashback to his time as a tortured POW, Rambo goes berserk and escapes the police station, leading to a manhunt in the nearby forest. Tensions are amplified when one of the cops is killed. Catching the attention of a misinforming media, it’s not long before Rambo’s former commanding officer, Colonel Trautman (noble Richard Crenna), shows up. Informing the incompetent cops and yokel members of the National Guard that Rambo is a Congressional Medal of Honor winner, and a killing machine, the colonel does his best to prevent any more violence. However, it’s become personal for the sheriff, and he’s out for revenge. Watch out for David Caruso and Bruce Greenwood in small roles.
As I noted above, First Blood has the feel of a drama, despite many action beats. As such, the performances feel more grounded and realistic than your typical actioner. Furthermore, when people say that Stallone is a “bad” actor, this is the first film I point to when I want to argue to the contrary. His performance here is nuanced and naturalistic. His monolog at the end of the film about a harrowing experience in Nam and coming home is absolutely heartbreaking.
The location shooting by lenser Andrew Laszlo is gorgeous, with the forbidding beauty of British Colombia providing a damp chill that’s palpable. The scenes shot at the massive gorge are just one example of how the settings provide distinctive and effective flavor. The action sequences are thrilling and not as absurd as later franchise entries. In particular, I like the dirt bike chase early on and when Rambo blows through a roadblock with a giant army truck. The stunts and effects are all practical and fantastic. Real cars careen around gravelly roads, real rats crawl all over Rambo in the collapsed abandoned mine, and real explosions pepper the climactic final scenes. Plus, Jerry Goldsmith’s melancholy and militaristic score amplifies the sober tone. This is a well-crafted, well-shot, well-acted work that deserves its legendary status.
If you’ve never seen Ted Kotcheff’s First Blood, you might be surprised at how classy it actually is. Sylvester Stallone’s John Rambo is a character you can root for and his experiences after coming home from the war make you feel for him. In a decade that had tons of iconic flicks, this is still one of the standouts, forty years on. Highly recommended for fans of the cinema of alienation, damaged heroes, and eating things that would make a billy goat puke.
Michael Cavender