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(This review contains spoilers. You have been warned.)

In a recent interview on British television, Sylvester Stallone came to the conclusion that John Rambo was more of a universally identifiable character than Rocky after experiencing life in Thailand on the set of his newest movie, Rambo (IV). Whether you agree with this statement or not, there's no denying the influence the ex-green beret character has had upon audiences since he first debuted on screens in 1982's First Blood.

Even today, the character hasn't lost his appeal. In this, the first instalment in the Rambo franchise, Stallone first introduces us to the troubled and misunderstood Vietnam War veteran as he is strolling down the side of the road in search of something to eat. Soon enough, though, a small town sheriff named Will Teasle (Brian Dennehy) starts harassing him, primarily due to the U.S. Army jacket that he is seen wearing ("We don't need guys like you in this town.")

If you've already seen the sequels, but are yet to see First Blood, you'd probably expect Rambo to retaliate by ripping the sheriff's throat out and then injecting a mass of fire power into the shitty little town behind him at this point in the film. But that's not quite his style... not yet, anyway. Instead, Rambo remains quietly reserved, unmoved by the Sheriff's smug comments, and continues walking, in search of that dinner he's been craving. The sheriff, however, keeps pushing Rambo and ends up stamping his authority by charging him with "vagrancy" and "resisting arrest" (he obviously has too much time on his hands).

At the police station, Rambo receives further abuse from the various uniforms attempting to clean up his "scruffy" appearance, and it is at this point that we begin to understand some of the character's psychological issues as a Vietnam War Veteran. There are flashbacks to Rambo's experiences as a prisoner of war, which trigger his anger and prompt him to beat his way out of a room full of cops. Stealing a motorbike, Rambo then flees into the mountains, only to be pursued by the entire police force, aided by a helicopter and a pack of hungry dogs. A fascinating hunt then begins.

See, Rambo is actually portrayed as the victim here. The film's script is effective in the sense that we feel sympathetic towards him as simple-minded police officers keep trying to push him into doing bad. Despite his inevitable backlash, Stallone's character remains the good guy throughout the story; in the whole of First Blood, his killing count is made up of one, solitary police officer, and even then the death is unintentional (the guy should've kept his balance, if you ask me). So, if you're the type to get on a high horse about the character's negative stereotype and the influence he has had upon adolescent teenage boys, then I suggest you give this film a proper watch (save the criticism for Rambo II and III).

The great thing about First Blood is its simplicity: Primarily, it is a respectable cat and mouse thriller, rather than an over-the-top mesh of violence that many have come to expect as a result of the sequels. Rambo is seen setting traps in the woods as he is chased down by the law enforcement, and it is this stealth element that makes the film incredibly enjoyable.

There's also subplot concerned with Vietnam protesters, which never stems too far from the action so you begin thinking this is just another pretentious war film concerned with American's heroism. See, Rambo is, and always has been, a freedom fighter, rather than a statement for American patriotism; while Teasle is the arrogant sheriff attempting to oppose the character's struggle to re-integrate himself within society. The film's various conflicts run from start to finish, resulting in plenty of tension and suspense that you can't help but be intrigued by.

First Blood really is a fantastic film, but it just misses out on being perfect due to a monologue in the final ten minutes. Here, Stallone's character has been cornered by police in the small town department store, and he starts to give a speech about his horrific experiences in Vietnam to his Colonial on the scene (Richard Crenna). While there is nothing particularly wrong with this idea, it is Stallone's execution of the speech that is somewhat off-putting: He mumbles through most of the lines, making you wonder what the hell he is trying to say. His story is quite interesting if you do manage to follow it (I'd recommend taking full advantage of the subtitle option on your DVD), but it's just unfortunate that it wasn't rehearsed a little better.

On a final note, here's a point to consider: Would Rambo have been anywhere near as popular today if his fate had matched that of the character in David Morrell's novel? (If you didn't know already, Rambo dies towards the end of his story.) Quite simply, no. Due to the media frenzy that spun off from the popularity of the First Blood sequels, he is often depicted as an invincible, larger-than-life character who likes to perform mindless random acts of violence. In all honesty, though, he's a big teddy bear really; from the evidence of this film, it becomes clear that all the guy ever wanted to do was find something to eat and attempt to put the war behind him. With that considered, make sure you cut the guy some slack!

(C) Andy Carrington, 2008.