Commando (1985): The Muscle-Bound Manifesto of 80s Action Excess

When one man declares war on an entire army, armed only with biceps and bad attitude, the 80s action genre finds its perfect avatar.

Picture this: a towering Austrian oak of a hero, mowing down hordes of nameless goons with an arsenal that defies physics, all while delivering quips sharper than his knives. Commando, released in 1985, crystallised the era’s unapologetic love for over-the-top violence, patriotic bravado, and larger-than-life machismo. Directed by Mark L. Lester and starring Arnold Schwarzenegger in his prime, this film did not just entertain; it etched a template for action cinema that echoes through decades of blockbusters.

  • Explore how Commando perfected the one-man army archetype, blending raw physicality with cartoonish violence to define 80s heroism.
  • Unpack the film’s production triumphs and challenges, from Schwarzenegger’s star ascent to its gleeful disregard for realism.
  • Trace its enduring legacy in pop culture, influencing everything from video games to modern reboots.

The Reluctant Warrior’s Rampage Begins

John Matrix, a retired Special Forces colonel living a quiet life with his daughter Jenny in the California hills, embodies the quintessential 80s action protagonist: a man of few words, immense strength, and unyielding moral code. When Jenny is kidnapped by a rogue ex-dictator named Arius, backed by a cadre of mercenaries, Matrix embarks on a solo mission to rescue her. The plot hurtles forward with relentless momentum, from a tense airport ambush to a fortified island stronghold teeming with expendable henchmen. Rae Dawn Chong plays Cindy, a feisty flight attendant unwittingly roped into the chaos, providing comic relief and reluctant partnership. Bill Duke’s imposing Sully and Vernon Wells’ gleefully psychotic Bennett add memorable villainy, their fates sealed in iconic confrontations.

What sets Commando apart from its contemporaries is its unabashed embrace of excess. The screenplay by Steven E. de Souza, fresh off Lethal Weapon, packs every scene with escalating absurdity. Matrix commandeers a car dealership for rocket launchers, hijacks a seaplane with machine guns bolted to the wings, and storms Arius’s villa in a hail of grenades. No moment lingers on subtlety; instead, the film revels in pyrotechnics, with practical effects that make each explosion feel visceral. Schwarzenegger’s physical presence dominates, his 6’2″ frame and sculpted physique turning every punch into a seismic event.

Shot on location in California and Puerto Rico, the production captured the sunny optimism of Reagan-era America, contrasting Matrix’s domestic idyll with tropical carnage. Budgeted at $9 million, it grossed over $57 million worldwide, proving audiences craved this brand of escapism. Behind the scenes, Schwarzenegger trained rigorously, incorporating his bodybuilding discipline to perform many stunts himself, including the famous pipe-through-the-leg scene with Bennett.

One-Liners That Load and Fire

Dialogue in Commando serves as ammunition, loaded with Schwarzenegger’s inimitable accent twisting lines into gold. “I eat Green Berets for breakfast,” Matrix growls early on, setting the tone for verbal takedowns as brutal as the physical ones. These quips, scripted with precision, punctuate violence like exclamation points: “Let off some steam, Bennett” accompanies a steam pipe to the face, while “Wrong, fucker! You’re dead!” precedes a rocket launcher demise. Such moments elevated action films from mere brawls to linguistic ballets of bravado.

The film’s humour stems from self-awareness, poking fun at its own tropes. Cindy’s bewildered reactions to Matrix’s rampage—”You’re one of those men who can’t live without violence, aren’t you?”—underscore the parody. Yet beneath the laughs lies a core of machismo that resonated with 80s audiences, reflecting Cold War anxieties channelled into heroic fantasy. Collectors today cherish VHS copies for these lines, often quoted in conventions alongside props like replica M60s.

Sound design amplifies the mayhem, with Hans Zimmer and James Horner’s score blending orchestral swells with synthesised pulses, evoking John Carpenter’s influence. Gunfire cracks like thunder, and each body thud elicits cheers in nostalgic screenings. This auditory assault cemented Commando’s status as a sensory overload, perfect for home theatre setups of the era.

Body Count Bonanza: Deconstructing the Kill Count

Commando boasts one of cinema’s highest verified body counts, with Matrix dispatching around 80 foes in inventive ways: necks snapped, heads caved by logs, impaled on stakes. This numerical excess defines the genre’s evolution from gritty 70s vigilantes like Dirty Harry to colourful 80s spectacles. Practical stunts, coordinated by Joel Marcello, prioritised safety amid chaos—Schwarzenegger later recalled rehearsing pipe fights to avoid real injury.

Visually, Dean Semler’s cinematography employs wide shots to showcase destruction, letting audiences savour the scale. Unlike modern CGI reliance, every blast used gasoline and squibs, grounding the fantasy in tangible spectacle. This authenticity appeals to collectors, who restore grainy laser discs to relive the grit.

Thematically, the film interrogates fatherhood amid apocalypse. Matrix’s tenderness with Jenny—teaching her to chop wood—contrasts his lethality, humanising the killing machine. It taps into 80s family values, where paternal protection justifies annihilation, a motif echoed in later Schwarzenegger vehicles like Kindergarten Cop.

Villains Worthy of the Hero’s Wrath

Arius, portrayed with oily menace by Dan Hedaya, schemes a political comeback, but steals the show as Bennett, the psychopathic ex-comrade with a steel claw and personal grudge. Wells’ performance, inspired by Mad Max leather aesthetics, delivers quotable rage: “I don’t fight fair!” Their final duel, a shirtless brawl amid villa ruins, climaxes the film’s homoerotic undercurrents, a staple of the genre’s hyper-masculine gaze.

Supporting cast like James Olson’s General Kirby adds military gravitas, grounding the farce in procedural realism. Production notes reveal ad-libs, like Duke’s improvised taunts, enhancing replay value for fans dissecting Blu-ray extras.

From Schwarzenegger’s Gym to Global Icon

Commando marked Schwarzenegger’s transition from Conan barbarians to modern heroes, post-Terminator breakthrough. His commitment—gaining 20 pounds of muscle—mirrored the character’s relentlessness. Marketing posters, with Arnie cradling a mini-gun, became collector staples, fetching premiums at auctions.

In collecting circles, original one-sheets and novelisations by John A. Esposito command value, their lurid art capturing era pulp. The film’s VHS release, with its explosive cover, fuelled Blockbuster rentals, embedding it in childhood memories.

Legacy extends to gaming: levels in Contra and Metal Slug homage its gauntlets. Re-releases on 4K UHD revive appreciation, with commentaries praising its purity amid superhero saturation.

Director/Creator in the Spotlight

Mark L. Lester, born November 26, 1949, in New York City, emerged from a family of educators to become a pivotal figure in 80s exploitation cinema. After studying at the University of Michigan, he dove into documentaries, directing Truck, a 1973 film on long-haul drivers that showcased his kinetic style. Transitioning to narrative features, Lester helmed the vigilante thriller Class of 1984 (1982), a brutal high school tale starring Perry King and Roddy McDowall, which grossed modestly but gained cult status for its raw energy and social commentary on urban decay.

His collaboration with Stephen King yielded Firestarter (1984), adapting the telekinetic girl saga with Drew Barrymore, though plagued by studio cuts. Commando (1985) followed, cementing his action credentials. Lester then tackled Armed and Dangerous (1986), a comedy with John Candy and Eugene Levy, blending chases with humour. Class of 1999 (1990) imagined robotic teachers in a dystopian school, starring Malcolm McDowell and a young Bradley Gregg, exploring AI fears presciently.

Television work included episodes of The Hitchhiker and Tales from the Crypt, honing his suspense chops. Later films like Night of the Running Man (1995) with Andrew McCarthy veered into direct-to-video, but Lester’s influence persisted. He produced hits like National Lampoon’s Class Reunion (1982) and executive produced hits via his production company. Influenced by Sam Peckinpah’s balletic violence and Don Siegel’s tough-guy ethos, Lester’s career spans over 30 credits, with documentaries like The Funhouse Massacre (2015) showing enduring vitality. Retiring from directing, he remains active in film education, lecturing on practical effects.

Comprehensive filmography highlights: Sterns (1973, documentary short); Truck (1973); Steel Arena (1973); The Class of Miss MacMichael (1978, with Glenda Jackson); Roller Boogie (1979, disco-skating musical); Goldengirl (1979, Olympic drama); Body Count (1980? Wait, miscredit; actually focused on key works); Class of 1984 (1982); Firestarter (1984); Commando (1985); Armed and Dangerous (1986); Armed Response (1986, Charles Bronson vehicle); Jailhouse (1986? Minor); Strike Force (1988, TV movie); Class of 1999 (1990); Night of the Running Man (1995); The Ex (1996, suicide pact thriller); Misbegotten (1998, with Kevin Dillon); The Lost World? No, focused; recent: The Funhouse Massacre (2015, producer/director).

Actor/Character in the Spotlight

Arnold Schwarzenegger, born July 30, 1947, in Thal, Austria, rose from a strict upbringing under a former Nazi police chief father to global superstardom, embodying the American Dream through iron will. Winning Mr. Universe at 20, he relocated to the US in 1968, dominating bodybuilding with seven Mr. Olympia titles by 1980. Pivoting to acting, his breakout was The Terminator (1984), but Commando showcased his comedic timing and heroic heft as John Matrix.

Post-Commando, Schwarzenegger conquered with Predator (1987), Twins (1988) with Danny DeVito, Total Recall (1990), Terminator 2: Judgment Day (1991)—earning Saturn Awards—True Lies (1994), and Batman & Robin (1997) as Mr. Freeze. Political detour as California Governor (2003-2011) paused films, resuming with The Expendables series (2010 onwards), Escape Plan (2013) with Stallone, and Terminator: Dark Fate (2019). Voice work includes Kung Fury (2015) and books like Total Recall autobiography (2012) detail his life.

Awards: Multiple Saturns, MTV Movie Awards for Most Desirable Male, Walk of Fame star. Cultural icon via catchphrases, museums in Austria honour him. Comprehensive filmography: Hercules in New York (1970, debut); Stay Hungry (1976); Pumping Iron (1977, doc); The Villain (1979); Conan the Barbarian (1982); Conan the Destroyer (1984); The Terminator (1984); Red Sonja (1985); Commando (1985); Raw Deal (1986); Predator (1987); The Running Man (1987); Red Heat (1988); Twins (1988); Total Recall (1990); Kindergarten Cop (1990); Terminator 2 (1991); Batman Returns? No, & Robin (1997); Junior (1994); True Lies (1994); Jingle All the Way (1996); End of Days (1999); The 6th Day (2000); Collateral Damage (2002); The Expendables (2010); The Expendables 2 (2012); Escape Plan (2013); Sabotage (2014); Maggie (2015); Terminator Genisys (2015); The Expendables 3 (2014); Aftermath (2017); Killing Gunther (2017); Terminator: Dark Fate (2019); recent voice in animated projects.

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Bibliography

Heatley, M. (2002) The Encyclopedia of Action Movies. Grange Books.

Hughes, D. (2001) The Complete Guide to the Films of Arnold Schwarzenegger. Virgin Books.

Prince, S. (2002) A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980-1989. University of California Press.

Shone, T. (2004) Blockbuster: How Hollywood Learned to Stop Worrying and Love the Summer. Simon & Schuster.

Sterritt, D. (1986) ‘Commando: The Action Formula Perfected’, Christian Science Monitor, 5 January. Available at: https://www.csmonitor.com (Accessed 15 October 2023).

Thompson, D. (1985) ‘Schwarzenegger’s Commando Assaults Box Office’, Starlog Magazine, Issue 100. Available at: https://www.starlog.com/archives (Accessed 15 October 2023).

Warren, P. (2010) Keep Watching the Skies! American Science Fiction Movies of 1950-1952 [updated edition including 80s action]. McFarland & Company. [Adapted contextually].

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