On a free night to watch An Officer and a Gentleman on Netflix, then recalled two movies that used to be a big hit of the ’80s, the launch pad that pushed two new faces, Richard Gere & Tom Cruise, became superstars since there.
The two movies are strangely similar from topic to structure, to storytelling. Both are about two young, stubborn young men who are training to become officers of the US military. One is about to become an air force officer (Richard Gere), another is about to become a fighter pilot (Tom Cruise).
But the path to becoming an officer of the US military is not that simple. They have to undergo intense training, physical and mental persecution, humiliated and humiliated, undergone dangerous probationary exercises, turned into elite killing machines.
Because, when they become real officers and join the battle, they will have to face dangerous enemies, a thousand pounds hanging hair. Be a “born to kill” person instead of a “born to die” (born to die) guy.
But if that was the case, wouldn’t these two films become a buggy version of Full Metal Jacket, the classic movie about the subject of Vietnam war by master director Stanley Kubrick?
What sets these two movies apart and makes a big hit in the ’80s is its romantic romantic nature.
Look at the two beautiful men who are like statues of Richard Gere and Tom Cruise in their early 30s. Isn’t their flirtatious look a waste for a movie like Mr. Evil Nausea or Van Dame? So the two directors Taylor Hackford and Tony Scott, in addition to turning these two emerging idol stars into brave, resilient US military officers, they also have to mold them to turn them into precious ones. he really.
Becoming an officer is difficult but obeying harsh military discipline has had some success days. But becoming a gentleman, practice or discipline is not going to do the job. He must have the qualities of a man of dignity, romance, and behave like a dignified person, especially towards the woman he loves.
And the reason these two films made the audience go crazy at that time was because of the image of men who owned two in one: an officer and a gentleman.
Isn’t it an unfair PR and marketing, a “soft power” to promote the image of the US military: they are both an elite killing machine when fighting and destroying enemy, but at the same time a sex machine in bed with the body of Rodin, ready to take young chickens to the climax of orgasm.
Consider the end of An Officer and a Gentleman enough to understand the effect of the soft power Hollywood built in the early 1980s. Richard Gere as young officer Zack Mayo, in his white navy suit Approaching the body of the actor who emerged thanks to the role of an American prostitute (American Gigolo), wandering into the local printing factory, approaching her mistress (Debra Winger), placed on the back of her neck. one kiss, turn her around, kiss her like a gnaw, then pick her up, turn around, go and kiss her in a clap resounding with emotion and jealousy. the other woman.
And then the song Up Where We Belong played, unbearably sweet.
Who knows what tomorrow brings
In the world where few hearts survive
All I know is the way I feel
If it’s real, I’ll keep it alive
The road is long
And there are mountains in our way
But we climb a step everyday
Love lift us up where we belong
Where the eagles cry on a mountain high
Love lift us up where we belong
Far from the worlds we know
Up where the clear winds blow
Some hang on to used to be
They live their lifes looking behind
When all we have is here and now
All our lives out there to find
That’s it. No wonder I’m not nostalgic about those old love movies …