Arnold's Anima: Gender Subversion in Schwarzenegger's Commando

Action in the 1980s to a large extent belonged to the hard, hyper-masculine physiques of Arnold Schwarzenegger and Sylvester Stallone, who seemed to embody the aggressive, go-getting, testosterone-fuelled spirit of the age. Except, as this chapter argues, it would be a mistake to take these representations of masculinity at face value.

Susan Jeffords has noted the evolution of Schwarzenegger's Terminator character from hard-bodied killer to nurturing father figure, linking this to the change in perceptions of masculinity between the Reagan and Bush eras. Indeed, as Schwarzenegger moved into the 90s his films increasingly played with notions of ‘the feminine’ – from the nurturing Schwarzenegger of Kindergarten Cop (1990) to the ‘maternal’ Schwarzenegger of Junior (1994).

This chapter focuses on Schwarzenegger's Commando (1985), the first film in which he plays a contemporary, ‘normal’ (though still unusually muscular) man: a widowed ex-special forces commando and now full-time father, named John Matrix. The act of naming this supposed he-man ‘Womb’ is only the beginning of the film's surprising and subversive disquisitions on gender. In between (and sometimes during) the expertly staged fist fights, gun battles and explosions, homoeroticism, the male gaze and gender stereotyping all bubble away under the surface. Schwarzenegger's body is presented for scrutiny in a way previously reserved for female Hollywood stars, and the film's antagonist, an embittered former colleague who is obsessed with Matrix in a way that verges on the erotic, transcends butch and enters the realms of macho camp. The film questions and subverts presumptions about the masculine and the feminine, while still delivering an ostensibly macho, quintessentially 1980s action film.