Alrighty boys ‘n girls, it’s been a long time coming, but today we’re finally kickin’ off a new Top 10 list.
This time around we’re gonna’ be venturing into the depths of MANLY cinema to dig up the Top 10 Manliest Man Moments in movie history.
Better buckle your ass down, ’cause for the next 10 days, testosterone levels are gonna’ shoot through the roof, energy drinks will be consumed en masse, fake boobies will be squeezed, Tapout gear’ll be worn 24/7, and no opportunity to apply the principles of infighting will be missed out on.
Okay, maybe things won’t get that meatheaded around here; at least I hope not…
In any case, expect much violence, feats of strength, and epic acts of selfless heroism to be the core subjects explored over the next 10 days.
That being said, while things may in fact get a little meat head-y in the immediate future, bear with me, ’cause believe me; this shit’s gonna’ be awesome.
Anyway, let’s get the ball rollin’ with the first entry in our list, the 10th Manliest Man Moment as seen in Hokuto No Ken: The Movie:
Hokuto No Ken AKA Fist of the North Star is perhaps the MANLIEST anime or manga in existence.
Except maybe Golgo 13… Golgo 13’s the shit.
To the sad few that might not be aware of it, Hokuto No Ken takes the post-apocalyptic world of Mad Max, re-casts a Japanese Bruce Lee as the main character; and features (numerous) instances of him blowing people the fuck up by TOUCHING THEM as it’s core plot point.
If that’s not fuckin’ MANLY, then I don’t know what is.
Oh wait, THIS:
Anyway, the main character of Hokuto No Ken is an insanely powerful martial artist named Kenshiro.
Throughout the series, Ken kills an ungodly number of people; almost always in horribly gruesome fashion.
While any one of said kills could easily be ranked as one of the Manliest Man Moments in movies, or at least the goriest; such instances of bone-crunching blood fuck-ery occur in Hokuto No Ken with such alarming regularity; that it kind of loses it’s luster after awhile.
I hate to say it, but you can only see a guy’s intestines fall out, or his head explode so many times before it starts to seem routine.
Well okay, maybe not routine; but you know what I mean.
Anyway, as weird as it may sound, perhaps the most badass thing Kenshiro ever did in Hokuto No Ken actually involved no maiming or butchering.
Well, “very little” maiming or butchering anyway…
You see, perhaps the most awesome thing Ken ever did in all of Hokuto No Ken and it’s spin-offs, was get his ass whupped and grow a pimp-ass fuckin’ beard:
While that is indeed perhaps the pimpest beard in all of existence, I have to admit; simply bearing it isn’t enough to constitute a slot on this list.
Thankfully, Kenshiro manages to one-up the awesomeness of his newly bearded visage almost immediately by, you guessed it; turning some grossly outmatched thugs into salsa waterballoons.
Not only that, he does so after essentially RETURNING FROM THE FUCKING DEAD.
At the beginning of the movie, we’re treated to a sequence wherein Ken gets his ass handed to him by a blond douchebag named Shin.
Literally seconds away from being mudhole stomped to death by a biker dude, Lin/Rin throws on a PURPLE FUCKING AURA and summon her random fuckin’ psychic powers to call out to Kenshiro, who just happens to be nearby.
From there, Ken’s second appearance in Hokuto No Ken: The Movie sees him literally RISE FROM HIS GRAVE to save the kids looking like Swamp Thing or some shit.
Now, while that may not sound that awesome, bear in mind that Mr. Kenshiro then proceeds to absent mindedly knock a couple of skyscrapers down WITH HIS FISTS.
Not only that, one of said buildings actually falls on Mud Man Kenshiro’s head, and he justs keeps right on walking like nothing happened.
Hell, the building even waits for him to walk out from under it to finish falling over!
An awesomely pimptastic hood and beard combo!
As awesome as the “Deployment of the Beard” was, the real icing on the cake is the fact that this magnificently MANLY entrance sequence is wasted on a handful of some of the lowliest and most puny thugs in the entire Hokuto No Ken universe.
Despite having just seen the man-mountain before them RISE FROM THE GRAVE and KNOCK FUCKING BUILDINGS DOWN WITH HIS BARE HANDS, in classic kung fu movie fashion; the thugs proceed to pull knives and crossbows on ‘ole Ken.
Not only that, during all of this the motherfucker that was stompin’ a mudhole on little Lin/Rin doesn’t even think to take his boot off of her.
The girl put up a PURPLE FUCKIN’ AURA while you were stomping her and then a muddy fuckin’ Juggernaut came back to life, started wreckin’ buildings n’shit, and then proceeded to march straight towards your ass with GLOWING RED FUCKING EYES.
Even if the dude failed to make the connection between the Mud Man and the girl, you’d think he’d at least, y’know; stop doing what he was doing, or better yet, RUN THE FUCK AWAY.
Regardless, rest assured the dude that made with the stompage is the first to get it… BAAAAAAAAAADDDD….
From there, Ken proceeds make goopy cherry Jell-O out of the rest of the gang, caving in faces and the like.
This isn’t the most creative of Ken’s beatdowns in Hokuto No Ken, given that it favors speed and efficiency over brutality and rage; however for what it’s worth, I’m pretty sure none of the bad guys make it out of the fight able to wear hats anymore.
Oh yeah, and none of them lived either, which is a plus.
As mentioned above, this sequence was far from the most brutal moments in Hokuto No Ken history, however the awesomeness of the entrance; coupled with the ultra-rare appearance of Beard-Shiro put this one high on my list in terms of badass moments in movies.
Well, #10 anyway…
Alright boys and girls, we’re back with more of the Top 10 Manliest Man Moments in movies!
This time around we’re tackling MANLY moment #9, a MANLY moment that belongs to none other than quite possibly the MANLIEST of all action heroes; Arnold Schwarzenegger.
As any self respecting MAN is aware, MANLY moments are very much the norm in any Arnie movie.
Seriously man, given the chance, Arnold could find a way to make just about anything the fuckin’ MANLIEST shit ever.
He was just that fuckin’ MANLY.
During the course of his acting career the man has killed Darth Vader:
Done battle with (and killed the ever-loving fuck out of) intergalactic game hunters:
And even managed to get away with calling THE FUCKING DEVIL a goddamn choir boy:
To say Arnold’s done some pretty MANLY-ASS things over the years would be an understatement akin to saying Steven Seagal’s flipped a lot of fools on their heads.
In other words, it’d be a BIG fuckin’ understatement.
Which begs the question, just what is the MANLIEST moment of Arnold’s illustrious film career?
Well, that’d have to the be when he summoned his MAN-STRENGTH to call “bullshit” on, well, pretty much everything; and then inexplicably whooped the shit out of a curiously overweight Australian at the end of Commando:
Let me go on record by saying that, while it’s far from the best movie in Arnold’s filmography; Commando has probably the highest MAN QUOTIENT of any of his movies.
Commando truly is a “dumb” movie in the sense that it’s plot, dialogue, and overall production values are kind of ratty; however most of this is played to it’s advantage in the form of copious amounts of “violent but not offensive violence,” and an insane number of Arnold-isms throughout.
In short, it’s a big dumb action movie that thrives on being big and dumb.
Which brings me to MANLY moment #9 on our list.
At the end of Commando, Arnold’s John Matrix faces off against a former “colleague” (read: killing buddy) of his named Bennett, who just happens to be holding Arnold’s daughter AKA Alyssa Milano, hostage.
While totally bat-shit crazy, and holding a penchant for knives; I’ve gotta’ say, Bennett is just about the least threatening villain I can recall in a Schwarzenegger flick.
I suppose it doesn’t help that half the time the guy looks like he’d sooner jump Arnie’s bones rather than kill him:
Seriously man, while taller than Arnold, the guy is obviously somewhat out of shape and doesn’t look at all to be a match for Arnold’s Herculean John Matrix.
To make matters worse, the poor guy is obviously kind of sensitive about his weight, as he wears some sort of goofy-ass chainmail getup to try and conceal his love handles.
Think fat kid wearing his shirt to the pool:
Top things off with the fact that he looks like a fat Freddie Mercury, and you’ve got yourself one very sad-ass final boss.
Despite all this, thankfully Bennett gives himself a fighting chance by capping Johnny Matrix in his right shoulder just before the final battle.
Sadly, that would prove to be just about the only good move ‘ole Bennett makes in the whole fight.
Using his MANLY powers of psychology, Matrix manages to convince Bennett to let go of Alyssa Milano so that they may knife fight to the death like the MANLY MEN they are.
The fight appears to reach an equilibrium of sorts, as both men receive minor cuts; however one could argue that Bennett pulls ahead at this juncture by attempting the use of scornful finger wagging and black magic:
Unfortunately however, his MAN STRENGTH proves to be too great, thereby causing him fall off alongside Bennett:
In classic villain fashion, Bennett makes use of a conveniently placed pipe to try and press an advantage over Matrix.
Courageously/dumbly fighting unarmed and without the use of his right arm, Arnold manages to stay in the fight, landing pot shots when able, and generally doing well to counter most of Bennett big swings.
Hell, one-armed or not, Arnie even manages to ape Steven Seagal by busting out an awkward hip toss of sorts:
Utilizing a nearby furnace door, Bennett whacks Matrix in the nose by opening it ala Tom and Jerry then proceeds to tear it off it’s hinges and chuck it at our hero.
Despite missing by a fuckin’ country mile, this maneuver allows Bennett the time to pick up another pipe from the floor, with which he proceeds to go to town on Matrix’s stomach and flanks.
Did I mention that during all of this, Bennett still looks like he want to mount Matrix something fierce?:
I’m not gonna’ lie, Arnold takes a helluva’ beating during this sequence.
After sustaining an absurd number of pipe shots to the torso, Arnold manages to land a desperation kick to… somewhere on Bennett’s person, thereby freeing our hero and allowing him to stand up once again.
I call the kick an act of “desperation” not just because of the nasty circumstances during which it was employed, but because kicking is just something Arnold doesn’t do.
The man is shaped like a fuckin’ upside down PYRAMID OF POWER, kicking is not one of his strong suits.
Anyway, from there the fight devolves into one of those awkward struggling/wrestling matches that suck all the momentum out of fight sequences.
Long story short, Bennett opened the furnace earlier, both guys almost get put into said furnace; and much grunting and sweating ensues, likely to Bennett’s pleasure.
Likely growing weary of being in such close proximity to a dark magician/child molester like Bennett, Matrix creates some distance with a strategically placed headbutt followed by a left hook to the jaw.
While Johnny Matrix indeed succeeds in gaining some breathing room with this maneuver, unfortunately he makes the mistake of knocking Bennett into the power grid, shooting thousands of volts through the big Aussie’s chainmailed form:
Now, ordinarily this would put a motherfucker to sleep like no other, but not ‘ole Bennett.
Unfortunately, Matrix clearly was not aware of this fact, and is thusly caught completely off guard by the immediate and hellacious counter-attack that follows.
Totally helpless, Matrix takes blow after blow, not the least of which being the dreaded “double axe-handle to the man boob”:
Pummeling away at Matrix’s back with fists and elbows, Bennett continues to pour on the verbal abuse to John’s MANHOOD.
“Your’e a dead man John!”
With those words, whatever weakness may have remained in John Matrix’s soul burned away to cinders, leaving only MANLY MAN-NESS in their wake.
With those words, John Matrix summoned the mightiest of MANLY words from deep within himself, channeling the MANLIEST of MAN spirits in the process:
Using only ONE HAND Matrix unleashes a 13-hit Ultra Combo of hooks and backhands that sends Bennett reeling.
Lacking the strength to employ any more magic spells or electrical attacks, Bennett; in a final act of villainous cowardice, draws a micro uzi and makes a move to blast Matrix’s nuts off.
Improvising in a manner that could only be referred to as MANLY-AS-FUCK, Matrix then promptly rips a steam pipe off the wall and throws it into Bennett’s rotund form:
#8. Han Solo: Army of One
Yesterday we covered what I would argue was Arnold Schwarzenegger’s MANLIEST MAN moment in cinema history.
Said moment involved exclamation of the word “bullshit,” followed by the Austrian death machine hurling a steam pipe through an Australian girlie man’s torso.
That was MANLY MAN moment #9.
Now I ask you, just what the fuck kind of Top 10 MANLY MAN moments would place something as epic as the finale of Commando at #9?
A really MANLY fuckin’ list, that’s what!
While the next MANLIEST moment may be somewhat lacking in epic savagery when compared to it’s predecessors; it more than makes up for it in epic ballsy-ness and courage.
In that sense, our 8th MANLIEST MAN moment happens to be that one time in A New Hope when the apex of pimp himself, Han Solo, literally went solo and randomly bum rushed the fuck out of a battalion of Stormtroopers:
(Apologies for the very much unwarranted Chariots of Fire, it was the best I could find.)
You see, while Arnold utterly dominates the MANLY realm of badassery and epic savagery, Harrison Ford’s Han Solo represents a different school of MANLINESS.
Sure, Harrison Ford can’t throw a decent punch to save his life, but that’s why it’s called “acting.”
Han Solo’s what you’d call a “loveable asshole.”
He’s a silver-tongued pistolero that wears his ego on his sleeve and tries his damndest to put his foot in the cooch whenever the opportunity presents itself.
While any other character would just seem like a epic frat boy douche-rocket in behaving like this, perhaps Han Solo’s greatest strength as a character is that, while he’s certainly one scruffy looking scoundrel; there’s an inherently heroic and admirable person visible beneath all of it.
I suppose it’s also pretty awesome that his MANLINESS gives him the power to SHUT PEOPLE THE FUCK UP just by raising a finger:
MANLY powers aside, the one thing that always put Han Solo over the top in my book of MANLINESS, was his ability to improvise and succeed on gut instinct alone.
When faced with the threat of having his ship blasted to pieces by a surprise attack from incoming TIE fighters, ‘ole Han just kind of shrugs his shoulders and says:
When forced to impersonate a Stormtrooper over an intercom in a desperate attempt to salvage his and the other Rebel’s infiltration into the Death Star, Han doesn’t just manage the task; he even takes the time to casually throw in a courteous “We’re fine, how are you?”:
That’s just how Han Solo rolls.
Off the cuff or from the hip, he rolls with the punches and always seems to come out on top.
Which brings us to the MANLIEST moment in his career, and the 8th MANLIEST moment in all of movies.
Not long after the above sequence wherein Han, Chewie and Luke utterly beast the shit out of the security staff of detention block AA 23, the 3 of them rescue Princess Leia and flee into the sewer duct.
After much hilarity and drama involving a nasty dianoga getting frisky with Luke,
as well as the walls of the chamber being set to “compact,” the 4 heroes escape into the main corridors of the Death Star.
Unfortunately, the section of the space station that they happen to escape to just happens to be crawling with Stormtroopers.
While most men would turn tail and run in the face of overwhelming odds like this, Han Solo immediately caps one of the troops square in the chest and then proceeds to CHASE AFTER the remaining half dozen or so HEAVILY ARMED soldiers!
If that wasn’t badass enough, ‘ole Han doesn’t just run the sons a bitches down; he charges after them screaming at the top of his lungs like some crazy-ass William Wallace motherfucker.
It may take some serious balls to single-handedly face down a whole squad of armed soldiers, but it takes giant-ass titanium gonads of MANLINESS to fuckin’ rout them and then successfully chase their asses down.
Unfortunately, as is often the case for people who aren’t Arnold Schwarzenegger, the MANLIEST course of action proves to be far from the wisest for Han Solo.
After chasing the Stormtroopers for some time, wailing like a fuckin’ Jewish banshee all the while; Han turns a corner to reveal horrifying sight:
Unfazed by the pants shitting-ly terrifying white and black wall of blaster toting death before him, Han attempts to overwhelm the Stormtroopers with the power of his MANLIEST of MANLY faces:
Immediately sensing that his gambit has failed, the ever resourceful Han Solo quickly falls back on his go-to plan “B”, that of shooting first and aiming/asking questions later:
With yet another Stormtrooper felled, Han makes the wise choice not to get greedy with his kill-streak, instead choosing to fall back and regroup with his compatriots.
Narrowly escaping from a hail of laser fire, Han Solo meets up with Chewie around the corner, and the 2 escape to the annals of MANLY sci-fi/action movie history.
#7. The Poe-Dozer
Welcome back folks, to the Azn Badger’s list of the Top 10 Manliest Man Moments!
So far we’ve covered the head-exploding exploits of Kenshiro from Fist of the North Star, the unbridled savagery of Arnold Schwarzenegger’s John Matrix in Commando, and the sporadic and unfocused heroism of Han Solo.
Indeed, with every entry on this list we’ve explored a number of different forms of MANLINESS, and today will be no exception.
Today, as we name the 7th MANLIEST MAN moment in movie history, we enter the 7th circle of MAN-DOM:
Make no mistake, Con Air is a horribly disjointed mess of a movie.
Despite having an all-star cast, Con Air isn’t action-y enough to be an action movie, nor prison-y enough to be a prison movie; resulting in a film that has no fuckin’ clue what it wants to do with itself.
In falling flat on it’s face trying to embody the genres listed above, Con Air falls back on what many Jerry Bruckheimer financed blockbusters attempt to do, namely be “funny.”
Normally this would be acceptable, (and if Michael Bay’s in charge, very likely racist) however in this case most of the funny lines are delivered by DEATH ROW INMATES, making the humor just a little bit morally questionable.
Despite all of Con Air’s failings, to it’s credit; it remains a very watchable piece of mid-90’s garbage.
One thing the movie did do right though, was give us the awesomeness that is Nic Cage’s Cameron Poe.
A quiet Southern gentleman who just happens to be an Army Ranger, Cameron Poe also happens to be mullet-ed and blue jean-ed DEATH on 2 legs.
Case in point, Poe is known to be SO FUCKING SAVAGE that in defending his PREGNANT WIFE against 3 drunken yahoos, 1 of whom is armed with a knife; Poe ends up getting sent to prison for manslaughter.
Seriously man, the guy is SO FUCKING SAVAGE that in killing an armed man in self-defense, he gets sent to prison for 8 years on the grounds that he “should’ve known better,” being as he’s a FUCKING KILLING MACHINE.
Anyway, despite Poe’s infinite awesomeness, Con Air as a movie doesn’t exactly afford him all that many opportunities to be badass.
There’s that one time he rescues a stuffed bunny through “presenting rearward” to a more than a little surprised Nick Chinlund while over-the-top rock music blared in the background:
Then there was that one time he Chuck Norris-ed the shit out of some Mexicans to the sounds of over-the-top rock music:
And I guess there was that one time he prevented the rape of that one lady from Total Recall by beating the shit out of “The Man Who Always Dies In Movies,” Danny Trejo; also set to over-the-top rock music:
In other words, Cameron Poe; as awesome as he is, seems dependent on the presence of over-the-top stylings of Trevor Rabin’s orchestral synth-rock music in order to get his swagger on and kill the fuck out of, well; apparently mostly just Mexicans.
Cameron Poe’s not racist, there just happen to be a lot of Hispanic bad guys that wander into his path in Con Air.
At least I hope that’s the case…
Thankfully, Cameron Poe’s MANLIEST of MAN moments, and our 7th MANLIEST MAN moment in all of movies; involves no violence directed at Hispanics, but rather plain ‘ole white guys, which of course makes it all the more PC!:
So here’s the basic setup:
Chasing after the plane in pair of attack helicopters, the Irish guy orders his pilot to shoot it down; while John Cusack’s Vince Larkin does what he can to protect the government’s property I.E. both the plane and CAMERON FUCKING POE by screaming “CEASE FIRE!” into the ear of the pilot in the front seat.
Long story short, some shots are fired, but not enough to knock the plane out of the sky.
During all of this however, Nic Cage’s Cameron Poe is in the process of HULKING OUT over his diabetic friend Baby-O, played by Bubba from Forrest Gump; having just been shot in the gut by John Malkovich’s unitentionally hilarious Cyrus the Virus.
Nearly brought to MANLY tears at the sight of his friends lying on the ground dieing and rapidly losing his faith, Poe does what any self-respecting MAN would do and casually DECLARES HIMSELF GOD and sets out on his way to kill a bunch of people:
Standing up from tending to his fallen friend, The Poe’s trademark over-the-top rock music starts blaring, and shit gets real, really fuckin’ fast!
Stomping down the aisle of the Jail Bird on a bee line for the cockpit, Poe throws on his MANLIEST of MAN-FACES and ascends to his ULTIMATE level of MAN-SAVAGERY:
First up is a big-ass blonde, shirtless douchbag with a broken bottle that uses what little time he has left on this Earth to shout a retarded and borderline incoherent threat at The Poe-Dozer:
As one might expect, size advantage or not; going toe-to-toe with The Poe when he’s in full-on Poe-Dozer Mode get’s this poor shmuck beat to shit something fierce.
Quick as you can say “1, 2, 3” The Poe-Dozer brings it’s blade to bear and claims it’s first victim:
Not skipping a beat, The Poe-Dozer continues his march of MANLINESS, letting out an obscenely MANLY “HUUOOOAAAH!!!!!” as he steps over the fallen blonde douchebag.
Unfortunately, another bad guy pops up in The Poe’s way; this time armed with a handgun.
Having seen his partner utterly steamrolled by the fury of The Poe-Dozer, the baddie wastes no time lifting his pistol and opening fire.
Unbeknownst to this particular bad guy though, The Poe-Dozer is immune to gunfire, thusly causing the otherwise debilitating injury of a bullet to the bicep to seem like little more than a minor annoyance.
… A minor annoyance that serves to ANGER the already POSITIVELY FUMING Poe-Dozer.
That being said, it should come as no surprise, least of all to the bad guy standing before him; that The Poe-Dozer goes to town on this sad sack of fuck with a motherfuckin’ vengeance.
… But not before we cut to a shot of the guy having a moment as he reflects on the error of his ways:
Utterly frozen in disbelief at the sight of The Poe-Dozer’s unflinching reaction to the gunshot wound, the convict finds himself unable to pull the trigger a second time.
His fate sealed, the bad guy quickly succumbs to the unrelenting fury of The Poe-Dozer; falling by the wayside after 3 consecutive straight right hands to the jaw.
At this point the music has already begun to calm down, thereby stripping The Poe-Dozer of his inhuman strength and vengeance fueled MAN-RAGE.
Fortunately, the previous 2 bad guys made up the bulk of The Poe’s resistance in reaching the cockpit, with the last obstacle remaining in his way (besides the fucking door) being the effeminate cross-dressing convict, “Sally Can’t Dance.”
Reverting from his uber-violent Poe-Dozer Mode to the more socially acceptable Southern Gentleman Mode, The Poe sees fit to dispatch “Sally Can’t Dance” in a manner that is fitting, namely that of laying the smack down with an open palm:
Huh, ‘guess I lied about the “no violence towards Hispanics” in this scene.
Technically there’s more to it, but in my eyes this moment marks the conclusion of the 7th MANLIEST MAN moment in movies.
#6. “Remember Jefferson, 20 Seconds!”
Today we reach the halfway point in the Azn Badger’s list of the Top 10 Manliest Man Moments in movies.
That’s not to say the MANLIEST MAN moments covered today and previously aren’t worth their weight in MANLINESS; rather they’re simply MANLY to a degree that makes them not quite worthy of the Top 5.
That being said, it causes me actual physical pain to rank it below the Top 5, but in any case our 6th MANLIEST MOMENT comes from perhaps the MANLIESTof WWII movies; The Dirty Dozen:
As with seemingly every entry on this list, The Dirty Dozen represents a drastically different school of MANLINESS; namely that of the classic “LEATHER-FACED MEN OF EPIC HARDNESS” subgenre that was prevalent in the 60’s and 70’s.
Whether you blame it on the fairly recent emergence of PC culture, or the government slowly poisoning our water supply with “pussy-fying” drugs; it’s hard to argue that the MANLY MEN of generations past bore a “harder” and more world weary image than those of today.
It’s this HARD image that The Dirty Dozen thrives on.
As is evident from the title of the film, virtually the entire cast of major players in the film are made up of lowdown dirty bastards that are serving time for war crimes.
The vast majority of the Dozen are impetuous and irredeemable sons of bitches that probably should hang for the shit they’ve done, but at the end of the day; they’re all exactly the breed of HARD MEN that are needed to do what must be done.
In this case, the mission at hand happens to be a (fictional) mass assassination of several high ranking Nazi officials just before the D-Day invasion.
Despite the action-packed conclusion, by far the strongest aspect of The Dirty Dozen, is the fact that despite most of the cast being bigots and murderers; at the end of the day you end up caring about what happens to them:
Well, most of them anyway…
Being as there really are over a dozen fucking MANLY MEN in this movie, there really isn’t time to cover everyone; but at the very least I feel I should mention some of the more prominent heavy hitters in the roster.
Marvin’s Major Reissman serves as the badass leader of the group.
While not a convicted a man like the rest of the Dozen, Reissman demonstrates, on more than a few occasions; that he’s every bit as SAVAGE as they are, and if anyone wears the pants in their relationship, it’s him.
Like Tom Selleck and his mustache, Lee Marvin made an entire career of being a tough-as-nails army dude; and The Dirty Dozen serves as an perhaps the finest example of his acting method.
Next up is Charles Bronson as the German speaking Wladislaw, who as we all know can’t help but be a BADASS FUCKING SPHINX of a MAN even during something as sedate as a word association therapy session:
Throughout his lengthy career, Bronson played the LEATHER-FACED HARD MAN bit to the point of self-parody.
It’s not his fault, I mean fuckin’ look at him!
How could you ask a man with a MANLY FUCKING CATCHER’S MITT for a face to be anything but HARD in whatever role you cast him in!?
More importantly, what self-respecting MAN would pass up an opportunity to make use of said MANLINESS in a movie?
Apparently none, hence the reason the world has 5 Death Wish movies.
Not that there’s anything wrong with that…
In addition to Marvin and Bronson, I feel it’s worth mentioning that The Dirty Dozen also featured the EPIC MANLINESS of Cool Hand Luke and The Naked Gun’s George Kennedy, as well as the always awesome Ernest Borgnine and Robert Ryan of The Wild Bunch fame.
It’s unfortunate that all 3 of said EPIC individuals are only in the movie for a few short minutes, but even so; their presence did a lot to bolster the palpable air of MANLINESS that permeates every frame of The Dirty Dozen.
Now, I’ve spent a great long while sucking the cock of this movie, and yet, up until now; I’ve actually made no mention of the MANLIEST MAN moment contained within it.
Said moment belongs to none of the awesome individuals mentioned above, nor any sort of big-time movie star; but rather to football legend turned actor, Jim FUCKING Brown:
As the only black member of the Dozen, Jim FUCKING Brown’s Robert T. Jefferson spends much of the movie at odds with the majority of his comrades.
The target of bitter racism during the early portions of the film, Jefferson responds in kind with hate of his own.
Despite this, Jefferson demonstrates a clear sense of duty and commitment to his mission that rivals even the most steadfast of the Dozen, as evidenced by he and Bronson’s Wladislaw going out of their way to prevent John Cassavete’s Victor R. Franko from deserting, thereby scrapping the entire mission.
It’s this sense of duty that ultimately leads to Jefferson’s death, which also happens to be our 6th MANLIEST MAN moment:
At this point in the movie, the Dozen’s forces have been cut down to a mere half-Dozen; and things are starting to get down to the wire.
Having succeeded in forcing the Nazi officials into the bomb shelter area beneath the mansion, our heroes work frantically to throw grenades into the air ducts that lie just above the bunker.
As enemy forces rapidly bear down the mansion, members of the Dozen simultaneously work to provide cover fire to those prepping the explosives, and secure a half-track to use as their getaway vehicle.
Eventually, the half-track is readied and the machine gun crew begin to displace, however one thing remains out of place:
The explosives need to be detonated, and the only man in position to do so is:
JIM. FUCKING. BROWN.
Before he can make a move though, Jim FUCKING Brown is ambushed by a sniper, who proves to be a terrible shot; thusly prompting Mr. FUCKING Brown to dispose of him in decidedly MANLYfashion:
Following this, Jim FUCKING Brown strips off his extraneous gear and steels himself for the task at hand one of the Dozen yells:
“Remember Jefferson, 20 seconds!”
The man runs 100 yards a game, I would think he can run a Nazi driveway in 20 fucking seconds!
With that Mr. FUCKING Brown clenches a pair of grenades in his hands and steels himself for the task of EPIC MANLINESS that lay before him.
Chucking his first grenade into the air duct beside him, Jefferson breaks out into a trademark Jim FUCKING Brown sprint towards destiny…
With enemy fire incoming all the while, he reaches the 2nd duct and puts a pineapple in there without skipping a beat.
Making his way to the 3rd and final duct, Jefferson fumbles with his last grenade, costing him precious seconds as he struggles to dislodge the spoon.
With all of the explosives in place, Jim FUCKING Brown runs down the homestretch of the mansion driveway; when from out of nowhere, hidden just beside a nearby bridge, he is gunned down in mid-sprint by a Nazi soldier.
As his body collapses against the brick driveway, the remaining Dozen members call out to Jefferson in both agony and anger.
Mere seconds later though, all emotions are put on hold as the massive fireworks show that would be Jefferson’s parting gift springs to life, thereby solidifying the exploits of the mission; no matter how chaotic or disorderly, a job well done.
As the of the mansion cuts a fiery swath across the night sky, all the fighting and gunfire seems to pause for a moment.
Despite this, with the memory of his fallen friend and comrade still fresh in his mind, Lee Marvin turns to the bridge and revenge-kills the fuck out of the Nazi bastard that took out the Dirty Dozen’s Ambassador of MANLINESS, Jim FUCKING Brown.
Pair this immediate revenge/spite killing of the Nazi soldier with the fact that Jim FUCKING Brown is the only member of the Dozen to get a sad music cue as a result of his death, and you have a MANLY moment worthy of the Top 10 MANLIEST MAN moments of all time.
If all that isn’t enough to convince you, I present to you the heap of forlorn reaction shots that show up as soon as our boy Jefferson goes down:
#5. Godzilla Crashes The Party
While the majority of the MANLY moments leading up to this one have been highlights from various MANLY action star’s careers, today we’re going to be tackling a moment that belongs not so much to a MANLY MAN of MANLINESS; but rather a fictional character that embodies many of the same values.
Said fictional character is of course the walking symbol of nuclear holocaust, Godzilla.
Anyone who’s read a post or 2 from this blog is likely aware that Godzilla is, and always will be one my biggest heroes.
I’ve been watching the Big-G’s movies since before I could speak, and though he’s not exactly human; even at a young age I found I identified with him in some bizarre way.
Now, as many of you are aware, Godzilla is a character who has been portrayed by a number of actors, in a number of different ways.
In his earliest appearances as well as much of the 90’s, Godzilla was essentially a wild beast; a force of nature driven by a wholly reptilian brain.
In the 60’s and 70’s though, as the franchise lightened it’s tone to appeal to youngsters; Godzilla began to take on a more human-like characteristics, both in appearance and behavior.
More importantly, the kid-friendly Godzilla was often portrayed as a hero; a factor that was largely responsible for securing his place on this list.
In that sense, it should come as no surprise that our 5th MANLIEST MAN moment comes from the 1975 Godzilla flick, and last of the original Showa era of films, Terror of Mechagodzilla AKA Mekagojira no Gyakushu AKA Mechagodzilla’s Counter-Attack:
Terror of Mechagodzilla is hands down my favorite Godzilla movie.
Seriously man, despite the title of the movie only listing 1 monster, Terror of Mechagodzilla included aliens, secret agents, the only instance of exposed boobs in Godzilla movie history, and 3 giant monsters for the price of 1!
The copy of the movie I had when I was a kid didn’t have the boobs, but rest assured; everything else listed above went a long way towards making me watch it every fuckin’ day of my youth.
In particular, I found that Titanosaurus, a rare “tooth and claw” monster in Godzilla’s gallery of rogues; did a lot to keep me coming back to Terror of Mechagodzilla as a kid.
I loved his unique, cackling roar, and how he was tough and scrappy despite being largely unable to handle the Big-G without tagging Mechagodzilla in every now and again.
In all, I have a lot of love for Titanosaurus, and am still surprised that this was the only film he ever appeared in.
Bearing a decidedly more severe and mature tone than most of the other 70’s Godzilla movies, Terror of Mechagodzilla is for sure a dumb enough movie for kids to understand; however it goes out of it’s way to do so without being condescending.
In addition to this, the movie also gets brownie points for serving as a time capsule for perhaps the gaudiest and most hideous examples of mid-70’s Japanese fashion.
Seriously man, if the lapels were any bigger in this movie the actors probably would’ve suffocated on the set…
My favorite character in the movie (besides Godzilla of course) was Jiro Murakoshi, the pimp-ass Interpol agent who I’d later learn stole his entire pimp-ass wardrobe from the Japanese apex of pimp himself, Golgo-13.
I could go on an on about how awesome Murakoshi was, but in the interest of keeping this post at least a little bit focused; I figure I should move on to our MAN moment for today.
In all my years of watching Godzilla movies, I’ve found that the overall quality and tone of a Godzilla movie can often times be gauged by the awesomeness of Godzilla’s first appearance in the film.
As I mentioned earlier, Terror of Mechagodzilla is easily my favorite Godzilla movie; and as such, it also happens to be the film that bears his finest entrance sequence:
At this point in the movie, Mechagodzilla hasn’t been completed yet; so Titanosaurus is really the only monster we’ve seen in action.
Tearing his way through Yokosuka under the control of Akihiko Hirata’s Dr. Mafune and his daughter, Tomoko Ai’s Katsura; Titanosaurus easily routs the JSDF and makes his way towards the downtown area.
Meanwhile, the alien leader Mugaru played Goro Mutsumi consults with his right hand man regarding an incoming source of radiation approaching Yokosuka from the sea.
Concluding that this massive source of radiation can only be Godzilla, the aliens snicker to one another as they decide to let the monster make landfall and confront Titanosaurus in the hope that 1, or both will die in the resulting conflict.
We then cut back to Titanosaurus stomping through the city, causing incalculable amounts of property damage; when out in the distance an angry shadow emerges…
As yet another building falls to the wanton fury of Titanosaurus, out of nowhere a familiar beam of sapphire-blue fire streaks across the sky and knocks the long-necked beast the ground:
Smoke billows from the streets beneath Titanosaurus as the camera sweeps across the skyline to key in on the massive shadow in the distance.
An electrical crackle lights up the night sky as Akira Ifukube’s legendary score roars to life and the shadow emerges from the darkness, revealing the scowling face of our savior and hero, Godzilla!
Seeing his would be opponent felled so easily, the King of the Monsters lets off a domineering roar, to which Titanosaurus can only respond with a reluctant whimper.
His challenge accepted, Godzilla enthusiastically bashes his knuckles together and bears his claws; signaling his urge to fight.
With that, the tension mounts as the 2 monsters square off in classic samurai fashion, only to abruptly slam into one another; sending a cloud of debris and dust into air.
Minutes later this sequence comes to an equally abrupt end as Dr. Mafune orders the retreat of Titanosaurus as a result of Katsura being injured during the engagement.
Watching Godzilla emerge from the shadows in such bad-ass fashion is a memory I’ll always treasure as one of the coolest things I’ve ever seen in movies.
Truth be told, the score during this sequence, and indeed the entirety of Terror of Mechagodzilla; is largely responsible for it’s awesomeness if you ask me.
Sure, the music played during this sequence is just the same old Godzilla march we’ve been hearing for the past 50+ years; however this particular version of it is one of, if not the strongest version I know of.
It’s slowed down a bit, with a deeper and harsher sound to it, lending the track a severity that is foreign in an otherwise colorful and energetic piece of music.
#4. Rocky Ends Communism
Yesterday we popped the cherry on the Top 5 of the Azn Badger’s Top 10 Manliest Man Moments list with a scene from a Godzilla movie.
That right there should tip you off to the fact that this list is very much my list of MANLY moments, and not just some cookie-cutter list for spoon-feeding to the masses.
That being said, our next moment comes courtesy of another one of my personal heroes, Sylvester Stallone.
Now, as fucking awesome as Stallone movies can be, it’s common knowledge the majority of his filmography could be described as “hit and miss.”
When it comes to Stallone though, at the end of the day it all comes down to his 2 biggest characters and franchises:
While I wouldn’t discover the MANLY majesty of the Rambo series until a bit later in life, the saga of Rocky Balboa was something I just couldn’t get enough of in my childhood.
Now, the character of Rocky Balboa might not be the cigar chomping paragon of MANLINESS that some of the other MEN on this list are, but make no mistake; Mr. Balboa is all that is MAN.
He’s the epitome of the classic underdog trope in cinema:
A big lovable retard with titanium MAN-BALLS of COURAGE, obsidian fists of AMERIKUHN JUSTICE, and a bionic heart pumped full of unflappable juices of MANHOOD.
If all of that doesn’t spell AMERIKUHN HERO, I don’t know what does.
Over the course of his colorful 30+ year boxing career, Rocky Balboa did it all.
He fought and defeated the previously undefeated and undisputed heavyweight champion of the world, after losing to him by a narrow margin in their previous bout:
He defended his title several times, only to amazingly lose and regain it in stupendously entertaining back-to-back bouts with Mr. T:
He dumped a shit ton of his winnings into buying his brother-in-law a horny robot maid:
He avenged the death of his best friend by beating the ever-loving fuck out of the Dolph-inator himself, Dolph Lundgren:
He trained a rough-edged prospect to world championship status, only to later end up beating the shit out of said pupil in a random and highly illegal street fight:
And at the end of it all he ended his career by once again losing to a world champion half his age by a narrow split-decision:
Somewhere towards the middle of all this though, after buying the horny robot but before beating the piss out of his pupil; Rocky found time to do something truly MAN-great…
Something worthy of being ranked our 4th MANLIEST MAN moment in all of movies…
Something MANLIER than any mere boxing ring could contain…
My greatest hope is that everyone reading this blog has seen Rocky IV, or failing that; at least knows the story of it.
Should anyone reading this blog not match any of these criteria, congratulations; you are both a pussy and a failure at life.
*ANYWAY* being as the beginning of Rocky IV deals with Rocky’s best buddy Apollo Creed getting killed in an exhibition match with the Swedish, I mean, COMMUNIST RUSSIAN death-machine Ivan Drago; naturally the final act of Rocky IV involves Mr. Balboa flying over to the USSR to pound some AMERIKUHN MAN JUSTICE into the giant Arian fuck’s face.
Unfortunately, unbeknowst to Rocky, Drago is packin’ the ‘roids; making the ensuing battle a clusterfuck of MANLY mayhem the likes of which the Eastern and Western world alike have never known:
For nearly 15 rounds and nearly 10 minutes of screen time, Drago and Balboa slug it out; with Balboa falling to the mat no less than 7 times throughout.
Despite Drago out-landing Balboa about 10-to-1, someway, somehow; the Italian Stallion manages to power through the EPIC FIST-STORM of COMMUNIST RUSSIAN FACE-FUCKERY and do some damage of his own.
As evidenced by the announcer team making note of it just about every 30 seconds, the COMMUNIST RUSSIAN crowd seriously want Balboa’s nuts in their borscht.
Also made apparent by the announcer team making note of it every 30 seconds though, is that part way through the fight, Balboa’s MAN-COURAGE in the ring is starts to win over the hearts and minds of the COMMUNIST RUSSIAN crowd.
At the end of the night, it all comes down to the 15th and final round, wherein Drago, is touched by the spirit of Rocky’s AMERIKUHN SPIRIT; turns his back on THE FUCKING POLITBURO, and says “Fuck it!” to fighting for the state in favor of fighting for MANLINESS.
Despite possessing an incredible height and reach advantage, as well as being ahead on the scorecards by an absurd margin; Drago opts to fight the final round standing toe-to-toe with Balboa, thereby insuring his failure as a COMMUNIST MAN.
Sure enough, Balboa gets some good shots in downstairs, punches some WOMANLY MAN-tears out of Drago’s guts; and ends up flattening the big, Russian, Best-Friend Murderer in spectacular fashion.
The ref’s count reaches “10” and all the previously anti-AMERIKUHN RUSSIANS in the crowd rush into the ring and drape the triumphant Rocky Balboa in an AMERIKUHN FUCKING FLAG that, I guess they just happened to have on hand…
Such is the MANLY-POWER of Rocky.
He can travel to a HOSTILE nation, inexplicably defeat a physically superior opponent as a massive underdog, and then end up winning over the crowd to such a MANLY extent, that they KNIT AN AMERIKUHN FUCKING FLAG during the course of an hour long fight.
Equally, uh, inexplicable; is the fact that, after trouncing their champion, the living symbol of their people’s achievements in physical conditioning; the COMMUNIST RUSSIANS offer the marble-mouthed Rocky Balboa the opportunity to voice his thoughts on the fight over the PA system.
Realizing the EPIC-NESS of the opportunity presented to him, Balboa digs deep within his recently brain-damaged mind, and summons an unrehearsed MAN-SPEECH of world-changing POLITICAL MAN-POWER:
In one night, Rocky Balboa won the most physically demanding fight of his life, and single-handedly ENDED COMMUNISM in the USSR.
Thus concludes our 4th MANLIEST MAN moment.
We’ve got 3 more to go folks, with all the EPIC MANLINESS being slung around here, it’s hard to say whether or not we’ll all survive the experience; but godddamnit I’m gonna’ give it my best shot to see it through to the end!
#3. The Whitmore Speech
Independence Day is an awesome fucking movie.
I remember being carted off to the theater to see it on opening day, despite not even knowing it’s title.
You see, acronyms were kind of big back in the mid-90’s, and as such; Independence Day was marketed as “ID4,” so as to be enigmatic and therefore “cool.”
To this day I really don’t get how the whole “ID4” thing worked out, but by golly; IT FUCKING WORKED.
Sure, the plot’s kind of corny and there’s definitely 1 too many coincidences in how all ensemble cast all relate to one another; but even so, it’s hard to dispute the fact that Independence Day is an exceptional popcorn movie.
The CG effects are kind of lacking by today’s standards, but for my money the explosions and miniature effects still hold water; as does the decent script that utterly blows the ever-loving fuck out of anything Michael Bay’s done in the past… Well, ever.
A product of the monument smashing duo of Dean Devlin and Roland Emmerich, Independence Day is hardly the MANLIEST of MAN movies, however it certainly has it’s fair share of outstanding MANLY moments.
Then there was that one time Will Smith deployed the “universal greeting” to an alien’s face:
And I guess there was also that one time when THE ENTIRE FUCKING PLANET WORKED TOGETHER TO WAGE THE LARGEST AERIAL BATTLE IN THE HISTORY OF MANKIND:
Oh yeah, and I suppose Randy Quaid killing himself to save the planet was pretty MANLY too, though not nearly as much as THE LARGEST AERIAL BATTLE IN THE HISTORY OF MANKIND.
Anyway, despite all the flash and special effects of Independence Day, in truth the MANLIEST; and easily most inspired moment in the entire movie, came in the form of a simple speech.
A speech delivered by the pimp-ass fighter pilot/PRESIDENT OF THE FUCKING WORLD, Thomas J. Whitmore:
Bill Pullman’s Tom Whitmore is in many way the Hot Rod of the AMERIKUHN presidency.
Like Hot Rod, he’s young, driven, and more than a little arrogant, resulting in his reception with the general public being somewhat divided.
Despite this, when it all comes down to the wire and shit gets real, his MANLY worth shines through and everyone rallies behind him.
Hot Rod had his moment in the sun as he assumed the title of Rodimus Prime, opened the Matrix of Leadership and took out Unicron… and then later became a total douche by catching a case of the “hate plague” and forcing Optimus Prime to pwn his ass.
You mean you don’t remember that?
*ANYWAY* Whitmore’s moment ultimately came as he rallied THE ENTIRE FUCKING PLANET to face the aliens head on, securing his place in the annals of MAN-HISTORY by selflessly riding into battle alongside the troops.
On a side note, President Whitmore’s finest moment during the final battle in Independence Day, came when he used his MANLY PRESIDENTIAL POWERS to magically summon an extra missile during the final battle.
I can’t find any pics to back it up, but next time you watch the movie; pay attention to how many missiles President Whitmore fires during the dog fighting.
Truly, it was a feat only a MANLY FUCKING PRESIDENT could achieve.
Which brings us to Tom Whitmore’s greatest achievement of all, and our 3rd MANLIEST MAN moment in all of movies.
Today, we celebrate, The Whitmore Speech:
Special thanks need to be given to David Arnold for a composing the background music of this speech.
Seriously, if ever there was an example of music being used to enhance the power of a scene, this would have to be it.
I think the turning point in the speech, where it goes from being calming and uplifting in spirit, to a fuckin’ MANLY-ASS call to arms; is where it really grabs you by the balls and makes you realize just how awesome it is.
There’s just something about the way Bill Pullman growls that one line, “We will not go quietly into the night!” that makes this speech so fuckin’ awesome to me.
#2. “Megatron Must Be Stopped. No Matter The Cost…”
When I was a kid, I had a small handful of movies I’d watch almost every day.
As much as I adore everything that is Godzilla, and as much as I enjoy watching intelligent rats stage crazy-ass sword fights; Transformers: The Movie was far and away my favorite of these movies.
While some (read: Orson Welles) would criticize Transformers: The Movie as being an hour and a half long toy commercial, for kids who grew up watching it; there’s no denying that it had a charm to it that made it truly special.
More than that, Transformers had a severity to it, a real sense of life and death stakes that made you, especially as a child; truly give a damn.
Say what you will about it being a feature length marketing device, in my book any movie that goes out of it’s way to kill off nearly every major character in the franchise within it’s first 20 minutes has at least some semblance of legitimate dramatic merit.
Hell, of all the retarded-ass kid’s movies that I used to watch, Transformers: The Movie was one of the only ones my mom was willing to sit down and watch with me.
Combine the film’s rather morbid tendency to be cruel to it’s main characters, with decent animation and a kick-ass glam rock soundtrack; and you’ve got a recipe for success.
It’s interesting to note that, for me at least; Transformers: The Movie represents most of what I know and love about the original Transformers cartoon.
I was born a few years after Transformers began to fade from the mainstream, and as such; I really didn’t see much of the TV series outside of a re-runs on the “Power Cube” every once in awhile.
If it weren’t for me having an older brother that was around to experience the Transformers phenomenon first-hand, I don’t think I would’ve had nearly as strong an association with the Generation 1 stuff.
Thank God for my brother, otherwise I would’ve been denied the pleasure of growing up watching the 2nd MANLIEST MAN moment in all of movies EVERY FUCKING DAY!
While one could (and indeed should) argue that the live-action Transformer movies are overlong and meandering piles of tripe Elmer’s glued together with eye-fucking CG and rejected elements from the National Treasure movie’s scripts; the 1 thing I think we can all agree they did right, was Optimus Prime.
Optimus Prime is one of the most admirable and heroic characters in all of fiction.
Steadfast and noble, he is the picture of stoicism and bravery that we all wish we could live up to when the chips are down.
In short, Cullen is Optimus Prime.
While the live-action movies flipped the charming minimalist aesthetic of the Generation 1 cartoon on it’s head, and often failed to allow him the opportunity to speak with the same regality by feeding him hokey lines; just hearing Peter Cullen’s voice come out of the CGI Optimus Prime was all I needed to see that even Michael Bay couldn’t completely fuck up his character.
As shitty as the live-action Transformer movies are, at least 5 minutes of them contain scenes of Optimus Prime being just as I remembered him.
That doesn’t forgive the 2 and a half hours+ worth of crap contained in the rest of the film’s running times, but even so; it counts for something.
That being said, our 2nd MANLIEST MAN moment is perhaps Optimus Prime’s finest moment, that of his heroic, and tragic; last stand against Megatron and the invading Decepticon forces:
Words can’t describe the EPIC MANLINESS of this moment.
At this point in the movie, the Autobots are really taking a pounding and don’t know how much longer they can hold out.
The vast majority of the Autobots from the first season of the TV series are killed off during the conflict, leaving Ultra Magnus and a ragtag group of Autobots, both young and old; to defend Autobot City.
As the Dinobots struggle in battle, Optimus Prime steps from the shuttle; grimly surveying the destruction of his people’s Earthbound sanctuary.
With any eerie sense of finality lingering the air, Optimus Prime transforms and rolls out; for perhaps the last time.
CUE AWESOME FUCKING INSPIRATIONAL ROCK SONG.
Pimp that he is, Optimus’ first move in battle is to RUN THE FUCK OVER Thrust.
From that point forward, the difference in power and capability between Optimus and the rest of the Transformers becomes readily apparent.
Still in truck form, Optimus is fired upon by several Decepticons; with all of the incoming laser blasts having no effect other than maybe singeing his paint job.
Leaping into the air and simultaneously detaching his trailer, Optimus does a MANLY gravity defying flip through the air, all the while CAPPING THE FUCK out of every Decepticon in sight:
Make no mistake, this is Optimus Prime at his PIMPEST and most BADASS.
With the majority of Megatron’s heavy hitters out of the picture, Optimus corners the evil robot and issues perhaps the MANLIEST of MANLY ultimatums:
Despite that EPIC-NESS, the 2 continue to exchange AWESOMELY MANLY remarks until, inevitably; Megatron claims he will kill Optimus with his bare hands, then proceeds to spear Prime’s ass to the ground.
Cutting back to the fight, Prime manages to toss Megatron into a wall, whereupon the devious Decepticon takes an opportunity to go back on his previous declaration and toss a sharp rod into Prime’s hip.
Immediately capitalizing on his opponent’s moment of weakness, Megatron lifts his arm blaster and fires several volleys at Prime.
Deftly slipping the incoming blaster fire, Optimus rushes Megatron and cracks him with a wicked right cross, knocking the Decepticon leader to the ground and severing the blaster from his forearm in one fell swoop.
Ever the sneaky bastard, Megatron once again makes use of a foreign object, picking a beam saber off the ground and swiping it across Prime’s stomach.
Sparking from the gut, Prime clutches his wound and staggers backwards, prompting Megatron to leap into the sky and initiate one of the single coolest shots in cinema history:
With an AUTOBOT SHORYUKEN, Optimus manages to counter Megatron’s overhead assault, only to end up being mule kicked in the chest by Megatron’s immediate retaliation.
With both fighters off-balance, the 2 robots slam into each other and tie up in a grapple.
As Megatron threatens to tear out Optimus’ eyes, our hero nevertheless manages to overpower the evil robot, grab him BY THE EARS; and toss his ass a CITY FUCKING BLOCK.
With Megatron severly injured and face down on the ground, Prime retrieves his blaster rifle and points it at Megatron.
Acting very much out of character, the ruthless and dastardly Megatron pleads for mercy.
Rightfully suspicious of his nemesis’ uncharacteristic behavior, Optimus is ultimately robbed of an opportunity to gauge a proper course of action as Hot Rod jumps in from out of nowhere and tries to subdue Megatron, only to end up being held as his hostage.
Grabbing a blaster pistol he found hidden amid the rubble nearby, and with Hot Rod now being used as his human shield; Megatron fires a volley directly into Optimus exposed stomach plate.
Too strong and too brave to take a knee, Optimus withstands the first shot, only to be felled by the 3 that follow.
Ditching his hostage, Megatron stands over Prime and taunts him at gun point, with the words:
“It’s over Prime…”
With those words, Prime; summoning the last of his strength, rears back and uncorks the MOTHER OF ALL DOUBLE AXE HANDLES directly into the Decepticon emblem of Megatron’s chest.
His chest plate shattered to pieces, Megatron falls off the nearby ledge, bounces off the balcony below, and crumbles onto the ground below.
With their leader utterly defeated, the battered and beaten forces of the Decepticons flee from Earth; leaving the Autobots to tend to their own.
Shortly thereafter, Optimus Prime would die, and Megatron would begin life anew under the guise of Galvatron.
#1. The Last Stand Of The Wild Bunch
There’s something particularly heroic in the act of sacrifice.
While the term “hero” largely refers to individuals of admirable or extraordinary traits, courage and bravery; the ability to rise up and act in the face or adversity, are characteristics that define the word just as well.
Of the past 9 MANLY moments we’ve explored up to this point, most, if not all of them have involved instances wherein heroic individuals had to put their lives at stake for a cause greater than themselves.
In fact, in the case of our 6th and 2nd MANLIEST MAN moments, (Jim Brown’s suicide run in The Dirty Dozen and Optimus Prime’s battle with Megatron in Transformers: The Movie respectively) the MANLY MEN involved in said moments ended up losing their lives despite their accomplishments.
Martyrdom is indeed a powerful form of heroism and MANLINESS, and unsurprisingly; it just happens to the kind of MANLINESS that makes the finale of Sam Peckinpah’s turn of the century Western classic, The Wild Bunch; THE MANLIEST MAN MOMENT IN ALL OF FILM:
Unlike the vast majority of the movies on this list, The Wild Bunch is a legitimately great film.
That’s not to say Transformers: The Movie and Commando aren’t quality films in their own right, I for one fucking love them; however it’s hard to deny that they aren’t of the same caliber as a classic like The Wild Bunch.
That being said, when it comes to films with themes like brotherhood, redemption, and MANLINESS; there are few better examples I can think of than The Wild Bunch.
The finale of The Wild Bunch involves the main characters, a band of somewhat amoral hired guns; recognizing a need for justice in a wartorn Mexican community.
Not lawful justice mind you, just plain old fashioned MAN-JUSTICE.
Initially working for the local warlord and his German arms provider, the Bunch complete the task assigned to them and collect their reward; but at the cost of having their comrade Angel, a Mexican revolutionary; taken from their ranks and brutally tortured.
The Bunch react to this atrocity with disgust and anger, however they ultimately end up gritting their teeth and walking away.
Some time passes however, and their collective consciences rouse their spirits to take action.
In an awe-inspiring act of MANLINESS, the remaining members of the bunch, consisting of Willam Holden’s Pike, Ernest Borgnine’s Dutch, Warren Oates’ Lyle, and Ben Johnson’s Tector; march through the town and towards the warlord’s compound with fire in their hearts.
Arriving at the compound, the Bunch confront the warlord amid an entire mess hall worth of troops.
The warlord, at this point severely inebriated and thusly unaware of the seriousness of the situation, casually asks them what it is they want.
To this, Pike responds with a single demand:
Retrieving the battered and beaten Angel, the warlord seems to be willing to comply with their request.
Unfortunately, the warlord draws a concealed knife and ruthlessly slits Angel’s throat, prompting the Bunch to gun him down on the spot.
There is an awkward moment as the warlord falls, a calm before the storm.
Both the soldiers, and the Bunch themselves; stand in silent awe of the utter insanity of what has just transpired.
The Bunch have ample time to run, and yet for whatever reason; they stand their ground.
Slipping a deviously knowing glance between one another, the Bunch recklessly assault the army of Mexican troops; resigning themselves to the lethal eventuality of the overwhelming odds before them.
Scores of Mexican troops are slaughtered as the Bunch wildly spray fire into the crowd, laughing maniacally at the sheer ridiculousness of the predicament they’ve willingly thrown themselves into.
As the initial surprise of their attack begins to fade away however, the soldier’s sheer numbers begin to wear on the Bunch; resulting in nearly all of our “heroes” receiving serious bullet wounds at some point.
A major turning point in the conflict occurs when one of the Bunch manages to get ahold of a mounted machine within the base, increasing the Bunch’s attack power 10 fold.
Unfortunately, even a machine gun isn’t enough to turn the tide completely, as one by one the Bunch begins to fall apart.
At the end of it all, only Pike and Dutch remain, with Pike dieing a heroes’ death manning the machine gun as Dutch is gunned down trying to come to his aid.
In the end, The Wild Bunch isn’t really a story about good guys and bad guys.
As mentioned earlier, the Bunch is made up of brigands and outlaws; making them questionable as traditional heroes.
Despite their somewhat underhanded nature though, in the final act of the movie; the Bunch manage to redeem themselves by demonstrating a clear belief in the concept of moral decency and justice.
Everything they do throughout the movie, especially in the finale sequence, could very easily be viewed as “wrong” or unjust; however in going back for Angel, and thereby adhering to their personal form of MAN-CODE; they gain a very small, but meaningful degree of redemption.
In essence, the Bunch gave their lives not for glory, or even necessity; but simply for the purpose of being MEN both in life, and in death.
In that sense, I can think of no MANLIER act of MAN-NESS in the pantheon of MANLY cinema.
Well folks, thus concludes the Azn Badger’s list of the Top 10 Manliest Man Moments in movies.
Hopefully you all enjoyed yourselves.
I for one seriously need a break from all of this MANLINESS business, as all of this writing has pretty much pushed me to the brink of MAN-SANITY.
Maybe I should watch some Ugly Betty or something, cleanse the palette…
As with virtually any list I’ve put together for this blog, there were more than a few entries I regret not having found a place for.
I suppose I could’ve changed the list from a “Top 10” to a “Top 15,” however I think we can all agree that Top 15 just doesn’t have the same ring to it; hence my reasoning for cutting things down to 10.
Anyway, finishing the Top 10 Manliest Man Moments last night really whooped my ass something fierce, so in the interest of sparing my brain cells; I’m gonna’ try to keep this short.
That being said, without further ado I give you the Top 5 Runner-Up Man Moments:
#5. Tremors – The Wrong Goddamn Rec Room…
Few would deny that Tremors was an awesome movie.
While the franchise that would follow in it’s wake would ultimately be hit and miss at best, the original Tremors succeeded largely on the shoulders of it’s colorful cast of characters; not the least of which being Burt Gummer and his wife.
While Burt’s survivalist shtick never really made him out to be as MANLY a MANLY-MAN as some of the other characters on this list, his vast arsenal of weapons; and the child-like glee he exhibits at the thought of getting a chance to use them, are qualities that made him perhaps the MANLIEST MAN in the Tremors series.
In short, watching Burt and the missus put several hundred rounds into an extraordinarily ballsy Graboid as it tears it’s way into their underground bunker was a thrill that brought me great joy in my youth.
#4. The Killer – Mickey Mouse and Dumbo Have… A “Moment.”
The Killer is John Woo’s best film, bar none.
The gunplay, while not as over-the-top and explosive as Hard-Boiled; is staged with a beauty and grace that few films can rival, not to mention the story and writing are probably the best Woo has ever had to work with.
While the action component of The Killer is ultimately what made it come to mind while compiling this MANLY list, in truth; the moment in the film that puts it among the runner-ups involves no violence whatsoever.
Basically, some over-the-top and totally out of place MAN music starts blaring as our heroes strut through the doors in slow motion.
If that wasn’t MANLY enough, we then cut to close-ups of the 2 MEN cracking goofy-ass smiles, at which point we are treated to back-to-back awkward freeze frames of the 2 men.
It’s a weird sequence, and is indeed very much out of place given the circumstances; but in some mysterious way it just seems utterly MANLY to me…
#3. Independence Day – Russell Puts A Plane Up The Alien’s Assholes
This one’s a no-brainer.
Randy Quaid saved the world from the aliens by giving his life.
I would’ve put this one on the Top 10 proper, but the Whitmore Speech just seemed so much bigger to me.
In the interest of restricting myself to a “one moment per movie” rule, I felt it was wise to put Russell in with the runner-ups.
Apollo died, whereas Ogre only got a concussion.
The actual fight in Rocky IV was both choreographed and shot better.
Rocky Balboa fought for AMERIKUH and ENDED COMMUNISM, while Frank Dux won “honor” and a toy sword.
In my book, the finale of Rocky IV is definitely the MANLIER moment, though I love both films with about the same passion
#1. Yojimbo – 5 Seconds of Mayhem
(Note: The clip above isn’t the actual moment in question, rather it’s simply a compilation of awesome Mifune moments.)
As mentioned elsewhere on this list, Toshiro Mifune is pretty much the most awesome human being.
The man was pretty much a modern day samurai, not to mention the living embodiment of the MANLY ideal of Japanese MAN-DOM.
That being said, of all the awesome moments he had in his illustrious film career; I can think of no MANLIER a sequence than when he cut down virtually every major villain in Yojimbo in the space of a few seconds.
Utterly devoid of flash, and about as no-nonsense as you can get, this sequence stands as a testament to the SAVAGERY of advanced iaido techniques, and the paragon of pimp that is Toshiro Mifune.
Anyway, that’s all for the Azn Badger’s list of the Manliest Man Moments in movies.
Check back tomorrow for something not related to MANLINESS!