Sometimes he does this blatantly and sometimes with a subtlety that is missed by critics and fans.
Even his earliest pre-Hollywood films reveal a fascination with the themes and symbols of faith.
1980sSpettersis an interesting example of Verhoevens pre-RoboCopvision.
And yes, that includesRoboCop.
The Trials of RoboCop
Like many creatives approached with theRoboCopscript, Verhoeven wasnt impressed by the concept.
Scholars and collectors of gruesome trivia know thats where youactuallywould be nailed through for that torturous death.
Murphys resurrection is also both sacred and profane, with his two partners at his side.
Murphy isnt therehes hellbound inside this metal shell, looking for a second coming he cannot have.
Even Officer Alex Murphys last temptation is similar to Jesus Christs.
Its literally the same offer of restored humanity when Murphy, in the finale, reclaims who he is.
Since hes not actually the Son of God, Murphy gets to keep his renewed sense of self.
Until the next movie when OCPs legal department tries to beat it out of him.
Yet Verhoevens conflicted ideas of faith still paint Murphys return with an equally human cynicism.
Murphyhasrevived, but his memories remain lost.
Its a kind of holy blasphemy, offering a backhanded resurrection to what had once been a good man.
And thats a Verhoeven speciality.
Turkish Delightis a monument to Verhoevens earthy ideas of sacrilege and sin to achieve a kind of immortality.
Or theother cartoon, which somehow sucked even more than the first one.
Call it RoboCops ownBook of Eunuch.
Or dont, because its a terrible pun.
Excuse me, theres an ED-209 at the door and it sounds pis
