United States - 1989
RCA/Columbia Pictures Home Video, 1991, VHS
Run Time - 1 hour, 37 minutes
The list of mostly forgettable science-fiction popcorn films produced by
Charles Band’s
Empire Pictures in the ‘80’s is for the most part an unchallenging intellectual vacuum. In many cases that is what makes them so mindlessly entertaining. With a naïve innocence that can only come from sincerity and a (relatively) low budget,
Arena is a shining example. It doesn’t require any mental acrobatics or ask any hard moral questions, but it was a little better made than most of the Empire Pictures catalog.
Arena is at some six years distance, clearly riding on the coat-tails of
Star Wars. It is not surprising then that in addition to its Empire pedigree,
Arena should suffer from many of the same philosophical shortcomings as its source material.
With nowhere else to go after losing his job on a space-station somewhere in the universe, Steve Armstrong (
Paul Satterfield) bunks with his former coworker Shorty in the slums. Here he meets a destitute bum, the last human champion of the Arena, an intergalactic boxing competition that has been dominated by aliens for the last five decades. He anoints Steve as the next human champion of the Arena making him quite literally the
Great White Hope in space.
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| The man in the Sloth suit is future director Steve Wang |
There are two categories of aliens that populate
Arena and highlight Steve’s messianic status. Both are visibly differentiated from the protagonists. The first are helpers, house-aliens who are silly and or dumb but totally harmless. To remove any ambiguity, the second group, Steve’s rivals, are not only visibly different but especially hideous, making them even more clearly unsympathetic and evil, and giving the good aliens excuse to support the collective restoration of a properly ordered hierarchy without appearing overtly
Uncle Tomish. Steve’s final opponent, the present champion Horn is also a cyborg. As such he is not only a direct threat to and reaffirmation of human physical purity, but a confirmation of the physical corruption and immorality of the non-human which has to “cheat” in order to win. And in fact, that’s precisely what Horn’s manager Rogor does when it becomes clear that Steve is going to beat his fighter.
Jade (
Sharri Shattuck) a sultry nightclub performer (Shattuck actually performs several of
Richard Band's songs) and Rogor’s lapdog is sent to seduce and poison Steve before the championship fight. Yet despite a romp through the futuristic spacy mylar sheets in Jade’s cat-box, her eroticism does not bode well for the normative settled family relationship. Instead, there is Quinn (
Claudia Christian,) a reserved, practical woman carrying on her father’s legacy as a boxing manager. It is with her faithful encouragement and training that Steve will restore hetero normative values to the universe. Can there be any doubt that our ubermensch will succeed in setting all of this straight when the distinction between right and wrong is so clear-cut?
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| The ultimate Buck? |
Despite all of this 50’s era conservative paranoia,
Arena is still enjoyable for a number of reasons. The practical special effects provided by
Screaming Mad George are better done than most of Band’s films.
Arena is also distinctly more working-class than its big budget franchise predecessor. Boxing, which is really all the Arena fights are, has always been viewed as a proletarian sport. Related to this is my final assertion that
Arena’s settings capture perfectly the appeal of the mundane. From the diner of the opening sequence, to the slums where Steve is verbally identified as the hero (it’s always been visually obvious), to the contest itself where order is restored,
Arena is fiction made tangible. Without throwaway details like burned eggs and garbage, it would be just another space movie. Narrative details that speak to perceived experience are what make good fiction. Unfortunately that’s why audiences rarely question such obviously reactionary symbolism when couched in throwaway sci-fi fluff.
The important thing to remember about Star Wars, especially because it has compounded its cultural significance in the last decade, is that it wasn’t very creative. As I’ve said before, it’s an entertaining movie, but the plot as we know is a generic and predictable white hero myth. Saturn 3 is not as epic or inspiring than its predecessor, but neither is it any less creative. What was so remarkable about Star Wars (and this is what I think most people find so endearing about it) was the visual design. Saturn 3 interestingly enough, was written and (initially) directed by John Barry, the same man responsible for the look of Star Wars.
