Starship Troopers - a fascist book and an anti-fascist movie

Robert A. Heinlein?s 1955 novel ?Starship Troopers? and its message could be described as fascist, provocative, irresponsible and unpalatable. Paul Verhoeven?s 1997 film Starship Troopers can, however, lay claim to being the ideological polar opposite of the novel. Verhoeven achieves this anti-fascist message within a fascist framework mainly through the usually subtle use of symbolism and satire

Heinlein's 22nd century earth is at war with an arachnid "bug" race from another galaxy. "They are tough and we are tough and only one of us will win and the other gets wiped out," explains our hero Johnny Rico of the rugged Mobil Infantry, illuminating well the state of mind of the war between Japan and the United States during World War II, as well as the barely restrained ferocity of the Cold War afterwards. Rico's old high school teacher Rasczak plays the stand-in for Heinlein's philosophy of an ?improved? future society which emerges after following the "decadence and collapse of the democracies of the 20th century" after which the surviving veterans take over. Heinlein pays unconvincing lip service to the idea of a free society where civic service is voluntary and civil liberties are respected, but the soul of his argument lies i

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It equips its wounded officers, like the enlistment officer at the Federal Building and Johnny Rico?s commanding officer, Rasczak, with cybernetic, ?steel hand? replacements, yet it cares little for their personal disposition. This is, perhaps, Verhoeven?s comment on the hardness and ridiculous fascism of Heinlein?s world. " Because authorities need to know more about the "brain bug," the central intelligence of the "bug" hive they are fighting, Carl has no qualms about sending the Federal Transport Authority or the Mobile Infantry out again into battle, sardonically rewarding his friend Johnny Rico, who has barely survived earlier action, with a field promotion to lieutenant. Both beg the question, however, does the human race deserve to win this war of survival?

. Paul Verhoeven intersperses Nazi imagery and allusions throughout the film. The first time he appears in a fascist uniform, he admits to his friends that during his stint in Military Intelligence, a State ministry euphemistically referred to as "Games and Theory," he has sent thousands to their deaths in order to obtain valuable information for the war effort, darkly intimating that those are again his intentions, even if his friends are included. n the military and the service of the State. And, perhaps most comically of all, propaganda films use footage of children ?doing their part? by stomping on dozens of harmless earth bugs. Consequently, the running of the Federation is done by an extremely limited pool of veterans who have survived their service relatively intact. In Heinlein's idealised future, this takes place in boot camp, reminiscent of totalitarian regimes such as Nazi Germany and Maoist China. To a point, his argument seems sound. The is especially apparent through the use of propaganda on the Federation channel. He is immediately shouted down by Rico, who reminds him of the destruction of Buenos Ares and calls for the slaughter of the whole species. S Naval Academy and later as a junior officer serving aboard the aircraft carrier USS Lexington - happiness is simply getting enough sleep. "

Verhoeven also seems to be taking a satirical view of Heinlein?s world.

Approximate Word count = 1215
Approximate Pages = 5 (250 words per page double spaced)

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