I must admit I didn't expect a Predator deep-dive at the Library, but I'm very happy you wrote it. You've got a talent for finding metaphor in the most unusual places. One thing that came to mind is that to the managerial state, anything outside the state is alien, to be killed or brought under control. Illegible things are terrifying to the managerial technocracy. Rednecks surviving a hurricane in the deep south are completely inscrutable, invisible, and thus, dangerous.
Very interesting review, and I suspect you're on to something. A lot of manly action movies of that period that were broadly dismissed as brainless jingoism actually have some pretty sophisticated themes and an anti-establishmentarian streak reflecting the technocratic failures of Vietnam and the Carter years. Appreciate the "Arena" clip also, quite possibly my favorite episode of the original series!
Solid analysis of an amazing action movie with memorable scenes & quotes. Especially interesting is the duality of Managerialism and the Predator, putting the cast between a rock and a hard place; both are nameless, faceless threats, except that one is order and the other is chaos.
Also, you said, "Men like Elon Musk dream of technology harnessed to managerial control but human meaning." this should read, "harnessed NOT to managerial control". Hope you don't mind my proofreading, just trying to help!
Too funny, I have “Men like Elon Musk dream of technology harnessed to managerial control but human meaning.“ in my copy buffer to ask the librarian what that meant. You sussed it out.
This review is tons of fun. Stretch to compare it simply to neolib managerial types, though. You find the same in any bureaucracy. Modern or ancient.
Varrus comes to mind, losing those eagles. But he had skin in the game, just like Dillon did, and both led from the front. Just bureaucrats trying and failing to survive in an environment hostile to too much pencil pushing.
Varrus wasn't a bureaucrat. In his day those jobs were filled by men from a different and socially inferior caste. He was pursuing his aristocrat's calling on the cursus honorum, and, having failed, died rather than lived dishonored. It's a profoundly different ethos than that inculcated by Globohomo, which ignores even repeated failure to the degree it is offset by demonstrations of ostentatious conformity.
Senators were bureaucrats, too. They spent more time doing paperwork than anything else. Their ethos was to look like big men (and at least they had to prove it, unless they were Augustus) while being anything but.
Those old Patricians were pathetic pencil pushers compared to folks like Marius. Except Sulla, who was more beast than man.
“Varrus, where are my legions?!” Took me a minute to figure out that the eagles were the standards (synecdoche maybe?). I wonder how many readers “got” this.
This is a better write up than any professional critic could ever hope to achieve!
Regarding the bomb, I think the idea was to wipe away any traces of the tech so the humans don’t steal it and copy it, though I’m not sure they really intended it to be nuclear and give off radiation, I think they just wanted a very big explosion.
While I agree with your assessment overall, I don’t think think it’s masculine versus feminine really, but man Vs nature. The men were not emasculated by the predator, but rather they were reduced to a primitive state that rendered their technology useless. But of course if they can’t outgun the monster, they definitely cannot outfight it.
You were absolutely correct to point out that Dutch had to lure it into a trap. He couldn’t beat it in a fight with his technological weaponry nor a “fair fight” hand to hand, so he had to outsmart it. This is meant to evoke humanities reliance on our ingenuity to outsmart nature and not to beat it through brute strength.
The predator is sort of a “force of nature” that exists beyond the managerial state, waiting for anyone to step outside its sphere of influence and, as seen with the nuclear bomb, able to destroy it. You used the term “cosmic horror” and I think that is the same, the force of nature always ready and able to wipe us out….in its own time
I can see the argument that Predator is a force of nature save for one thing- the Predator has a code. He’s not there to consume, but to test his mettle against dangerous game. He attacks the strong rather than separating the weak from the herd. Nature kills to survive; it doesn’t take trophies. The narrative emphasis on his character as an alien I think was meant to support that the jungle was not the true home of either the team or the Predator.
Man that is a great point. You’re right. He’s like a higher form of life or something. Is a “cosmic horror” a form of intelligence? I seem to recall from Cthulhu that it in fact was
Shoot I also meant to point out that Billy’s last stand was Spenglers “we must hold the lost position without hope, without rescue.” I like that you brought up the Freudian aspects of the film, and if that’s there it’s the “nature is chaos which is feminine,” and I guess in that sense it’s “emasculating” but I personally prefer the term and concept “dehumanizing” in this context
This has always been one of my favorite movies, and your deeper analysis has only served to further my love of it. Predator always struck me as a movie that was more than the sum of its parts for various reasons. While I was partially cognizant of some of the ideas you describe here, these weren't elements I took into full consideration before. Now that I've got them in mind, I think I may watch the movie this weekend through this new lens, see if I can pick up on the elements you discuss.
On a related note, it always struck me as interesting that of all the members of Dutch's team, Billy is the only one who's killed off screen. Younger me found that disappointing for the lack of spectacle, but nowadays I find it the most harrowing death. Billy was the one man who, from the moment he learned about the force stalking them, treated it with a sort of spiritual reverence. As you noted, his response to Ramirez's remark that he fears no man is to say that what they face isn't a man. Of all the members of Dutch's crew, Billy seems to be the one who best understands that they don't just face a living enemy in the Predator, but a force of destruction that has its sights specifically on them.
I think this makes it particularly fitting that he's the first of the team to try facing the Predator in a direct confrontation. He's the first to draw the knife. I think that Billy's choice to stay behind isn't simply an attempt to reclaim his manhood and honor through warrior strength, nor is it just a sacrifice to give Ramirez, Anna, and Dutch a little more time to escape with their lives. It's a spiritual battle given form, a man boldly facing down a demon with the knowledge that he is going to die. I think that's also why of everyone who was killed it's his scream that was the most agonized, and his body that was shown being desecrated for the trophy alongside Dutch's preparations. In a metaphorical sense, the Predator was making an example of him. I think that adds a little extra weight to the fact that it's specifically Billy's laugh the Predator uses at the end, too.
I totally agree. I would have expanded a bit on Billy (and the other characters) but my post was already getting a bit long. He seems to have an intuitive sense of what is happening long before he's consciously aware of it. This relates to his depiction as a tracker; he quickly gathers that something unnatural is taking place as the clues he uncovers don't match what any man or beast could do. Deduction leaves the only possible conclusion that something supernatural or paranormal is at work, something that can kill and mutilate six elite soldiers as well as his friends. That they are all going to die is the logical outcome he expects. There is only the choice of how to face it, a spiritual battle as you say.
As a side note, the ideology of diversity has metastasized into a full-blown cult in entertainment, but look how well-done it is here, narratively plausible and organic to the story. It makes sense for the characters to come from different backgrounds and for their identities to influence their development as they did. It's executed so well that it seldom even gets mentioned. The 80s were great at that.
The 80's did quite a lot right when it came to filmmaking, especially in sci-fi and horror. Predator, Aliens, and The Thing all do a fantastic job of providing casts of diverse characters from varied backgrounds with different personal beliefs in a manner that, just as you say, feels entirely plausible and organic. The characters in these stories feel like genuine people, and the films are better for it.
That said, this was also the same decade that gave us movies like Chopping Mall, Critters, and Ghoulies, so definitely not perfect. Certainly more fun than most movies today, though.
I love 80s action films and have always thought of them, especially but not only the many about Vietnam, as copes for America's post WWII military underperformance. The blame is indeed placed on the deep state managers, the insensate pencil necks/pushers ('They don't care about American boys GODDAMN IT; if they'd only let our boys fight the war their way we would have KICKED COMMIE ASS GOODDAMN IT'), but I've never recognised an *anti-managerialism* subtext.
What a dizzying take. It was a bit like being led through a maze by a deft sure-footed guide.
One thing that keeps occurring to me was that these movies (classic 80s action) were very much in the vein of an actual epic, where who the characters are is not defined through their psychology as much as it is painted in broad strokes of class and role and action. I would argue here that Dutch becomes more of a warrior rather than less. After his "rebirth" from the river he is far closer to the indigenous people whose jungles he casually invaded with his original mission; and so far closer to ancient men fighting monsters without superciliousness or arrogance.
This is one of my favorite films of all time. Thanks for illustrating why it is.
The pacing in this film is perfect, and the decelopment of the mystery of the Predator is flawless. If this film were made in the past 20 years, we'd expect an exposition dump in which some black female CIA scientist tells the team (all diverse femme-fatales) about how she knew about these aliens, and proceed to tell us every detail about them and what their purpose is.
Then of course we might get some socio-political history on the Predator race, and how they all had to evolve to be hunters because of toxic masculinity and capitalism or something.
Great take on a great movie. I am lousy at extracting tropes from films, unless they are glaringly obvious. Thank you. My take on the ending was two fold: to prove his manhood and the bigger picture - protect the world from the monster, (thereby proving his manhood....) and - maybe a bit of revenge for his dead friends?
"...they are mere avatars for ideological struggles between rival systems of managerial control"
The two superpower systems, "capitalism" and "communism" fit that mold. NS Lyons seems to have popularized that framing. It seems to me somehow insufficient; another, deeper characterization would be helpful.
Hierarchy, bureaucracy are both needed. In the communist case totalitarianism rules. In our case, totalitarianism is ascendant. Western culture has, at least in some eras, maintained sufficient balance to avoid malicious managerial control. Christianity, I think enabled that balance. Even the robber barons, fallen as they were, had a Christian moral code and imbued on them. As the cultural stability of Christian ethics erodes, chaos overtakes.
Utopianism is irrational and eventually falls of its own weight into the clutches of evil men.
Some things I saw that might add to the feminine horror hypothesis:
Every dirty joke in the movie by Rick Hawkins is about his Girlfriend having a massive vagina. Hawkins is killed and lost into the jungle. (Like he was lost into a massive cavernous expanse that he was trying to warn them about). Something else of note, when Blain is killed the way they shoot into the forest after, it was like all their bullets, even Blain's massive mini-gun, are equivalent to throwing a hot dog down a hallway. (Even the sexual T-rex isn't enough)
They hit nothing. Only Mac's shot makes the predator (the jungle) bleed, because he is clearly in love with (no homo) Blain. His feelings for Blain are the most heartfelt in the movie. I think he represents the deepest of brotherly bonds, but also a sort of hermaphrodite owing to his implied latent homosexuality.
Also of note the only one who sees the blood is the woman who shows a clear understanding of what the blood (because she is woman and she too bleeds) means. It is at her warning that they first devise a plan to confront the predator with primitive tools.
The most unsettling part of the movie is when Mac strips as he goes to follow the predator. He sings the song from the opening scene in a cracking voice:
"Gonna tell Aunt Mary about Uncle John
He claimed he has the misery but he's havin' a lot of fun
Oh baby, yeah, baby, whoo-ooh, hoo-ooh, baby
Havin' me some fun tonight, yeah
Well long, tall Sally, she's built for speed, she got
Everything that Uncle John need
Oh baby, yeah, baby, whoo-ooh, hoo-ooh, baby
Havin' me some fun tonight, yeah".
In the Helicopter scene Mac is behind Blain silently watching and approving of his masculine show while the song plays. So in this later scene he is remembering his friend, but the lyrics are clearly about sex and make it clear that woman (nature, and sex is nature in the body) is both misery and fun. So, when he is stripping he is singing a song about having sex, the same song that makes him think of the good times with his friend Blain. In other words "there's a lot to unpack here".
He and Dillon team up and Mac reveals the predator to him, but they fail because they still used modern weapons. But before that Mac's eyes are peering out of the blackness of a little cave. Once again this reveals that Mac is also immersed in the feminine. From the cavern of the feminine perspective, he is able to see the predator clearly. The predator is strangely sensual in this scene. He and Dillon look out at the predator almost presenting its backside to them. It is only when mac is pulled out of the blackness by the light skinned Dillon that he fails to see the predator clearly and dies.
After this Billy hears Dillon dying and decides to strip as well. He goes off to take the path of Uncle John as well.
The rest is pretty much what you said so I have nothing to add except that Dutch's cries are high pitched when heard from the predator's perspective so he sounds like a woman being ravaged. This is the point when Dutch takes on the aspect of a woman free from any modern weaponry, and finally kills the predator.
Reading this after reading Camille Pallia's Sexual Personae is a trip.
I must admit I didn't expect a Predator deep-dive at the Library, but I'm very happy you wrote it. You've got a talent for finding metaphor in the most unusual places. One thing that came to mind is that to the managerial state, anything outside the state is alien, to be killed or brought under control. Illegible things are terrifying to the managerial technocracy. Rednecks surviving a hurricane in the deep south are completely inscrutable, invisible, and thus, dangerous.
To the longhouse schoolmarms we're the Predator.
Great movie, and a great essay. Thanks!
Very interesting review, and I suspect you're on to something. A lot of manly action movies of that period that were broadly dismissed as brainless jingoism actually have some pretty sophisticated themes and an anti-establishmentarian streak reflecting the technocratic failures of Vietnam and the Carter years. Appreciate the "Arena" clip also, quite possibly my favorite episode of the original series!
They're dismissed as jingoistic and brainless by the managerial state, which views such movies as threats to itself.
Solid analysis of an amazing action movie with memorable scenes & quotes. Especially interesting is the duality of Managerialism and the Predator, putting the cast between a rock and a hard place; both are nameless, faceless threats, except that one is order and the other is chaos.
Also, you said, "Men like Elon Musk dream of technology harnessed to managerial control but human meaning." this should read, "harnessed NOT to managerial control". Hope you don't mind my proofreading, just trying to help!
You are correct. Thank you. Fixed.
no prob, I usually don't point out typos, but when it significantly affects the meaning, it must be done!
Too funny, I have “Men like Elon Musk dream of technology harnessed to managerial control but human meaning.“ in my copy buffer to ask the librarian what that meant. You sussed it out.
This review is tons of fun. Stretch to compare it simply to neolib managerial types, though. You find the same in any bureaucracy. Modern or ancient.
Varrus comes to mind, losing those eagles. But he had skin in the game, just like Dillon did, and both led from the front. Just bureaucrats trying and failing to survive in an environment hostile to too much pencil pushing.
Varrus wasn't a bureaucrat. In his day those jobs were filled by men from a different and socially inferior caste. He was pursuing his aristocrat's calling on the cursus honorum, and, having failed, died rather than lived dishonored. It's a profoundly different ethos than that inculcated by Globohomo, which ignores even repeated failure to the degree it is offset by demonstrations of ostentatious conformity.
Senators were bureaucrats, too. They spent more time doing paperwork than anything else. Their ethos was to look like big men (and at least they had to prove it, unless they were Augustus) while being anything but.
Those old Patricians were pathetic pencil pushers compared to folks like Marius. Except Sulla, who was more beast than man.
“Varrus, where are my legions?!” Took me a minute to figure out that the eagles were the standards (synecdoche maybe?). I wonder how many readers “got” this.
This is a better write up than any professional critic could ever hope to achieve!
Regarding the bomb, I think the idea was to wipe away any traces of the tech so the humans don’t steal it and copy it, though I’m not sure they really intended it to be nuclear and give off radiation, I think they just wanted a very big explosion.
While I agree with your assessment overall, I don’t think think it’s masculine versus feminine really, but man Vs nature. The men were not emasculated by the predator, but rather they were reduced to a primitive state that rendered their technology useless. But of course if they can’t outgun the monster, they definitely cannot outfight it.
You were absolutely correct to point out that Dutch had to lure it into a trap. He couldn’t beat it in a fight with his technological weaponry nor a “fair fight” hand to hand, so he had to outsmart it. This is meant to evoke humanities reliance on our ingenuity to outsmart nature and not to beat it through brute strength.
The predator is sort of a “force of nature” that exists beyond the managerial state, waiting for anyone to step outside its sphere of influence and, as seen with the nuclear bomb, able to destroy it. You used the term “cosmic horror” and I think that is the same, the force of nature always ready and able to wipe us out….in its own time
I can see the argument that Predator is a force of nature save for one thing- the Predator has a code. He’s not there to consume, but to test his mettle against dangerous game. He attacks the strong rather than separating the weak from the herd. Nature kills to survive; it doesn’t take trophies. The narrative emphasis on his character as an alien I think was meant to support that the jungle was not the true home of either the team or the Predator.
Man that is a great point. You’re right. He’s like a higher form of life or something. Is a “cosmic horror” a form of intelligence? I seem to recall from Cthulhu that it in fact was
Shoot I also meant to point out that Billy’s last stand was Spenglers “we must hold the lost position without hope, without rescue.” I like that you brought up the Freudian aspects of the film, and if that’s there it’s the “nature is chaos which is feminine,” and I guess in that sense it’s “emasculating” but I personally prefer the term and concept “dehumanizing” in this context
This has always been one of my favorite movies, and your deeper analysis has only served to further my love of it. Predator always struck me as a movie that was more than the sum of its parts for various reasons. While I was partially cognizant of some of the ideas you describe here, these weren't elements I took into full consideration before. Now that I've got them in mind, I think I may watch the movie this weekend through this new lens, see if I can pick up on the elements you discuss.
On a related note, it always struck me as interesting that of all the members of Dutch's team, Billy is the only one who's killed off screen. Younger me found that disappointing for the lack of spectacle, but nowadays I find it the most harrowing death. Billy was the one man who, from the moment he learned about the force stalking them, treated it with a sort of spiritual reverence. As you noted, his response to Ramirez's remark that he fears no man is to say that what they face isn't a man. Of all the members of Dutch's crew, Billy seems to be the one who best understands that they don't just face a living enemy in the Predator, but a force of destruction that has its sights specifically on them.
I think this makes it particularly fitting that he's the first of the team to try facing the Predator in a direct confrontation. He's the first to draw the knife. I think that Billy's choice to stay behind isn't simply an attempt to reclaim his manhood and honor through warrior strength, nor is it just a sacrifice to give Ramirez, Anna, and Dutch a little more time to escape with their lives. It's a spiritual battle given form, a man boldly facing down a demon with the knowledge that he is going to die. I think that's also why of everyone who was killed it's his scream that was the most agonized, and his body that was shown being desecrated for the trophy alongside Dutch's preparations. In a metaphorical sense, the Predator was making an example of him. I think that adds a little extra weight to the fact that it's specifically Billy's laugh the Predator uses at the end, too.
I totally agree. I would have expanded a bit on Billy (and the other characters) but my post was already getting a bit long. He seems to have an intuitive sense of what is happening long before he's consciously aware of it. This relates to his depiction as a tracker; he quickly gathers that something unnatural is taking place as the clues he uncovers don't match what any man or beast could do. Deduction leaves the only possible conclusion that something supernatural or paranormal is at work, something that can kill and mutilate six elite soldiers as well as his friends. That they are all going to die is the logical outcome he expects. There is only the choice of how to face it, a spiritual battle as you say.
As a side note, the ideology of diversity has metastasized into a full-blown cult in entertainment, but look how well-done it is here, narratively plausible and organic to the story. It makes sense for the characters to come from different backgrounds and for their identities to influence their development as they did. It's executed so well that it seldom even gets mentioned. The 80s were great at that.
The 80's did quite a lot right when it came to filmmaking, especially in sci-fi and horror. Predator, Aliens, and The Thing all do a fantastic job of providing casts of diverse characters from varied backgrounds with different personal beliefs in a manner that, just as you say, feels entirely plausible and organic. The characters in these stories feel like genuine people, and the films are better for it.
That said, this was also the same decade that gave us movies like Chopping Mall, Critters, and Ghoulies, so definitely not perfect. Certainly more fun than most movies today, though.
YOU SON OF A BITCH
I love 80s action films and have always thought of them, especially but not only the many about Vietnam, as copes for America's post WWII military underperformance. The blame is indeed placed on the deep state managers, the insensate pencil necks/pushers ('They don't care about American boys GODDAMN IT; if they'd only let our boys fight the war their way we would have KICKED COMMIE ASS GOODDAMN IT'), but I've never recognised an *anti-managerialism* subtext.
I had Cinnamon Toast Crunch for the first time in years tonight. No soy milk, but I think your point is well taken, and I have some manning up to do.
Thanks for another great piece!
I'll tell you what they really fear and hate:
https://youtu.be/M-k_BW8iLkk?si=4ms_j5q0_TQ-bh-D
Superb analysis. I'd only say your comment on the soundtrack is missing the essential "chi-chichit-chi" between the "dadadadaDAHda" 🤣
What a dizzying take. It was a bit like being led through a maze by a deft sure-footed guide.
One thing that keeps occurring to me was that these movies (classic 80s action) were very much in the vein of an actual epic, where who the characters are is not defined through their psychology as much as it is painted in broad strokes of class and role and action. I would argue here that Dutch becomes more of a warrior rather than less. After his "rebirth" from the river he is far closer to the indigenous people whose jungles he casually invaded with his original mission; and so far closer to ancient men fighting monsters without superciliousness or arrogance.
This is one of my favorite films of all time. Thanks for illustrating why it is.
The pacing in this film is perfect, and the decelopment of the mystery of the Predator is flawless. If this film were made in the past 20 years, we'd expect an exposition dump in which some black female CIA scientist tells the team (all diverse femme-fatales) about how she knew about these aliens, and proceed to tell us every detail about them and what their purpose is.
Then of course we might get some socio-political history on the Predator race, and how they all had to evolve to be hunters because of toxic masculinity and capitalism or something.
Thank fuck the movie was made in 1987
Great take on a great movie. I am lousy at extracting tropes from films, unless they are glaringly obvious. Thank you. My take on the ending was two fold: to prove his manhood and the bigger picture - protect the world from the monster, (thereby proving his manhood....) and - maybe a bit of revenge for his dead friends?
"...they are mere avatars for ideological struggles between rival systems of managerial control"
The two superpower systems, "capitalism" and "communism" fit that mold. NS Lyons seems to have popularized that framing. It seems to me somehow insufficient; another, deeper characterization would be helpful.
Hierarchy, bureaucracy are both needed. In the communist case totalitarianism rules. In our case, totalitarianism is ascendant. Western culture has, at least in some eras, maintained sufficient balance to avoid malicious managerial control. Christianity, I think enabled that balance. Even the robber barons, fallen as they were, had a Christian moral code and imbued on them. As the cultural stability of Christian ethics erodes, chaos overtakes.
Utopianism is irrational and eventually falls of its own weight into the clutches of evil men.
Another top tier essay, I must confess to never thinking all that deeply about this movie, now I wanna re-watch it and think on it even more.
Great run down:
Some things I saw that might add to the feminine horror hypothesis:
Every dirty joke in the movie by Rick Hawkins is about his Girlfriend having a massive vagina. Hawkins is killed and lost into the jungle. (Like he was lost into a massive cavernous expanse that he was trying to warn them about). Something else of note, when Blain is killed the way they shoot into the forest after, it was like all their bullets, even Blain's massive mini-gun, are equivalent to throwing a hot dog down a hallway. (Even the sexual T-rex isn't enough)
They hit nothing. Only Mac's shot makes the predator (the jungle) bleed, because he is clearly in love with (no homo) Blain. His feelings for Blain are the most heartfelt in the movie. I think he represents the deepest of brotherly bonds, but also a sort of hermaphrodite owing to his implied latent homosexuality.
Also of note the only one who sees the blood is the woman who shows a clear understanding of what the blood (because she is woman and she too bleeds) means. It is at her warning that they first devise a plan to confront the predator with primitive tools.
The most unsettling part of the movie is when Mac strips as he goes to follow the predator. He sings the song from the opening scene in a cracking voice:
"Gonna tell Aunt Mary about Uncle John
He claimed he has the misery but he's havin' a lot of fun
Oh baby, yeah, baby, whoo-ooh, hoo-ooh, baby
Havin' me some fun tonight, yeah
Well long, tall Sally, she's built for speed, she got
Everything that Uncle John need
Oh baby, yeah, baby, whoo-ooh, hoo-ooh, baby
Havin' me some fun tonight, yeah".
In the Helicopter scene Mac is behind Blain silently watching and approving of his masculine show while the song plays. So in this later scene he is remembering his friend, but the lyrics are clearly about sex and make it clear that woman (nature, and sex is nature in the body) is both misery and fun. So, when he is stripping he is singing a song about having sex, the same song that makes him think of the good times with his friend Blain. In other words "there's a lot to unpack here".
He and Dillon team up and Mac reveals the predator to him, but they fail because they still used modern weapons. But before that Mac's eyes are peering out of the blackness of a little cave. Once again this reveals that Mac is also immersed in the feminine. From the cavern of the feminine perspective, he is able to see the predator clearly. The predator is strangely sensual in this scene. He and Dillon look out at the predator almost presenting its backside to them. It is only when mac is pulled out of the blackness by the light skinned Dillon that he fails to see the predator clearly and dies.
After this Billy hears Dillon dying and decides to strip as well. He goes off to take the path of Uncle John as well.
The rest is pretty much what you said so I have nothing to add except that Dutch's cries are high pitched when heard from the predator's perspective so he sounds like a woman being ravaged. This is the point when Dutch takes on the aspect of a woman free from any modern weaponry, and finally kills the predator.
Reading this after reading Camille Pallia's Sexual Personae is a trip.