DreamWorks is dreamworking overtime to sell its upcoming Saving
Private Ryan as an antiwar classic, with advance hype so hysterical it
constitutes an invasion in itself. ("The last great invasion of the last
great war," announces the trailer, in that tone that says only a dunce
wouldn't think this is important.) DreamWorks makes no such claims of
greatness for its current release, Small Soldiers, but without
having seen Private Ryan, I'd guess that this twisted little piece
of pop subversion is a much harsher rebuke of militaristic aggression.
The closest Hollywood has come to a live-action Simpsons episode,
Small Soldiers opens with the takeover of Heartland Toys by
Globotech, a defense contractor forced to diversify after the demise of our
foreign enemies. (Its motto: "Turning swords into ploughshares.") Merge
Heartland's creative department with Globotech's surplus hardware, and what
do you get? Mobile commando action figures outfitted with weapons and
artificial intelligence--which subsequently learn how to punch their way
out of boxes and terrorize other toys. The vicious snap-on soldiers wind up
in a generic Middle American suburb, where a misunderstood teen (Gregory
Smith), his dreamy neighbor (Kirsten Dunst), and a race of benevolent rival
toys (including an adorable one-eyed beastie called Ocula) must stop their
onslaught.
Fueled by the Mad-magazine sensibility of director Joe Dante--the
American cinema's premier psycho-adolescent wiseguy--Small Soldiers
is essentially Toy Story as conceived by a bunch of juvenile
glue-huffers. The movie's basic joke is that the bloodthirsty commando toys
(voiced by Tommy Lee Jones and about a third of the original Dirty Dozen)
reenact the beefy clichs of war movies ranging from Patton to
Apocalypse Now. Gung-ho gruntspeak has never sounded sillier or more
impotent coming from the mouths of dolls. As the attack escalates, Dante
places macho bloodlust in a pint-size context that makes it properly
ridiculous. His puny commandos may talk a good game, but let 'em meet a
housewife with a tennis racket, and they're toast.
The sickest gag--also the funniest and most provocative--is that the
violence is more graphic (and hence more realistic) than any grown-up war
movie could ever dare. Commandos get their plastic limbs crushed in bicycle
spokes and ground up in garbage compactors; it's not a good sign when an
embattled suburbanite revs up his lawn mower. Early reviews blasted the
movie for this mayhem--one even misapplied the term "gore"--but Dante sets
up this cartoon carnage as the logical extension of playing war. We're so
much more sentimental about toys, the signifiers of childhood and
innocence, than we are about soldiers. But in a real war, troops are
ordered about as indiscriminately as action figures, and they get ripped
apart as if they were plastic men. Funny how nobody complains about sending
kids to Mulan, which makes combat look like a fitness camp.
My only gripe is that the production sometimes seems rushed, as if the
filmmakers didn't have time to follow through on some of their brightest
ideas. For example, it's too bad the good toys, the Gorgonites (voiced by
the virtuosic Spinal Tap ensemble), don't come up with an ingenious
nonviolent plan to defeat the commandos. Nevertheless, there's plenty here
for sick minds to enjoy--the freakily satirical moment when the commandos
mistake a Barbie-like collection for a whorehouse, the eerie scene in which
Dunst is attacked by a swarm of hostile dolls. Skeptical of authority,
distrustful of might, Small Soldiers will indeed warp your kids'
minds, and in the very best ways.