As a film critic with a penchant for international cinema and a soft spot for Dutch directors, I must say that Paul Verhoeven is a fascinating figure in the world of moviemaking. Having grown up in the Netherlands myself, I can’t help but appreciate the unique blend of humor, brutality, and social commentary that he brings to his work.
I never thought a 1987 film like RoboCop, with an art-house director disdainful of sci-fi and action movies, a controversial producer, a dyslexic actor struggling to audition formally, an actress lacking respect, and unknown writers penning a script Hollywood mocked, would turn out to be a masterpiece. But against all odds, it did! With each player stubbornly venturing into uncharted waters, they created a satirical, R-rated, sci-fi blockbuster that left an indelible mark on cinematic discourse. It defied expectations and continues to inspire filmmakers today.
Initially, this project was considered a failure on paper. Director Paul Verhoeven expressed his disdain for the script, even suggesting to eliminate all humor and causing scenes when the team fell short of his standards. Miraculously, the film managed to materialize despite numerous warning signs. The idea thrives best as a standalone character study of RoboCop, with subsequent films potentially overextending Murphy’s character arc which had already reached its limit. The unique blend of low and highbrow elements was dismissed in the sequels, making the original RoboCop increasingly exceptional as a singularity, with each unsuccessful remake further emphasizing its uniqueness.
The enduring popularity of RoboCop is more attributable to the serendipitous gathering of talented individuals rather than the astuteness of those selecting scripts. It’s crucial to note that few in the industry foresaw the potential of a witty action movie, a blend of Mad Magazine and Rambo, subtly satirizing consumerism, the military-industrial complex, superficial pop culture, and the rampant corporate control over contemporary life. For Orion Pictures, this was purely about profit, with no other considerations. The audience, however, was more interested in laughing at criminals being shot in sensitive areas or disintegrating into a splatter of goo. Verhoeven managed to maintain his broader societal critique and the essential element of body horror without catering to their demands.
The “F***ing Robot Movie” That Was the Punching Bag of Hollywood
As a movie enthusiast, I was thrilled when Orion Pictures decided to greenlight this upcoming action masterpiece, considering it their own version of the iconic “Terminator.” With a budget that’s neither too extravagant nor too meager, they were ready to bring this cinematic spectacle to life. The script, penned by the lesser-known Michael Miner, caught their attention, thanks in large part to Jon Davison’s persuasive recommendations. Later on, Edward Neumeier hopped aboard as a co-writer, contributing some tweaks to the original script.
Orion’s robot film project encountered issues during early development, giving off a cheap, B-movie vibe. An unexpected nominee for the director’s role was Dutch experimental filmmaker Verhoeven, known for his grim and contentious films in Europe. Despite the studio’s urgency, Verhoeven rejected the idea, as did many others in the industry. In “Science Fiction Film Directors, Vol. II”, Davison noted that the project’s controversial reputation deterred several well-known directors.
Initially, there was a noticeable lack of enthusiasm towards it. Only those who had been out of work for some time seemed keen on having their clients involved in it. It appeared that for every director unwilling to direct RoboCop, there were a hundred actors reluctant to play the role.
Initially, Paul Verhoeven wasn’t keen on exploring deeper subtext, but he eventually changed his mind. Peter Weller was interested in playing the role of Alex Murphy/RoboCop again, this time for a more prominent franchise. Since he struggled with reading due to dyslexia, Weller demonstrated a robot’s walk by dancing around, which impressed Verhoeven remarkably. Faced with a choice, Weller was warned by producer Dino De Laurentiis to cease his involvement with the RoboCop project as he had almost guaranteed Weller a role in the King Kong sequel titled “King Kong Lives.
In a turn of events, Weller found himself drawn towards working with the volatile Dutchman, which didn’t sit well with De Laurentiis and effectively ended that partnership. According to Entertainment Weekly, this is how their conversation went: “How much money do you need not to make this robot movie?” This was allegedly said by De Laurentiis. Stephanie Zimbalist from the show Remington Steele initially got the role of Officer Anne Lewis, but it eventually went to Nancy Allen. At that time, Allen was known for her roles in horror films and was believed to have gained success due to Hollywood connections rather than talent. This role would be the least glamorous of her career, as the film’s producers couldn’t capitalize on her sex appeal to sell tickets. With the budget spiraling out of control as the movie ran over schedule, Orion had more pressing concerns.
Paul Verhoeven, the Boss From Hell
Despite the cheerful weather, the high-and-mighty director remained unimpressed by Rob Bottin’s initial design for the film, as he angrily smashed the movie’s models with a spatula.
In the movie, there was a significant cultural miscommunication, as Verhoeven struggled to grasp the intricacies of American culture. He wasn’t exactly street-wise in this context. A memorable quote from the film, “Bitches leave,” has become a favorite among fans, but Verhoeven filmed that part without fully appreciating the humor behind a phrase that resembled a line from a blaxploitation movie. Unfortunately, neither Verhoeven nor his German camera crew were aware that “bitches” was considered offensive in English, using it carelessly on set. The cast chuckled at the director’s mistake privately.
Ultimately, the team united behind the challenging director, investing their passion into what seemed like a tacky movie to many spectators from outside. Interestingly, even Bottin held no resentment, reteaming with the director for 1990’s Total Recall. Instead of using studio sets, Verhoeven filmed in real locations, resulting in a unique production that catered to various tastes. It featured a man grappling with his feelings, a powerful female lead, elements of horror, quick-witted dialogue, humor, and a compelling dramatic storyline. However, the challenges were far from over as the MPAA rating board came next…
The Vain Quest to Recapture Lightning in a Bottle
The film was quite shocking when it first came out due to its graphic portrayal of violence, earning it an X-rating. However, after some edits were made to remove excessively violent scenes, the rating was lowered. Despite facing financial difficulties due to its R-rating, director Verhoeven managed a significant success by blending various unconventional ideas. Unfortunately, this wouldn’t sustain its profitability for long.
In the 90s, films such as ‘RoboCop 2’ and ‘RoboCop 3’, directed by Irvin Kershner and Fred Dekker respectively, lost the original essence, becoming exactly the kind of generic, uninspiring, corporate blockbuster that Neumeier had feared. Dekker’s contribution, in particular, diluted the grim, comic-book inspired tone established by Neumeier and Miner. The final installment of the trilogy, a PG-13 movie, is often disregarded by RoboCop fans.
Orion was keen to continue the RoboCop series, even though there wasn’t a clear way to develop the Murphy character further beyond his regaining humanity and dealing with OCP company issues in 1987. Allen (who played Lewis) admired Verhoeven for delving into the comedic aspects of the robot storyline as he slowly grew to appreciate the creative possibilities that science fiction offered.
The first film’s success was heavily reliant on Paul Verhoeven as its director, and the second movie lacked his unique touch, which she felt failed to recapture the original’s appeal and humor. RoboCop, in essence, wouldn’t exist without him, whether it was a stroke of luck or not. Maybe it’s best that he remains in charge, one way or another. Stream it on Max.
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2024-11-07 07:02