The film was, or intended to be, a sly critique of fascism, of the casual brutality and belief in redemptive violence that defines fascism as an aesthetic. In that, it diverged from Heinlein, whose originally work was both brilliant and uncritically expressed the military-corporate ethos of Franco, Mussolini and National Socialism.
Verhoeven's work plays like a hoo-hah celebration of martial prowess, in which the only human beings of value are soldiers, and the enemy are simply alien horrors to be slaughtered. Lead actors were selected, explicitly, because they fit the fascist aesthetic found in Leni Reifenstahl's brilliant, horrific Nazi propaganda. They were beautiful, perfect specimens, and if not, used for comic relief. In that, it's not much different from many action movies, only our heroes are the ones wearing the Nazi uniforms.
I mean, actually Nazi uniforms, as the dapper officer uniform worn by the psychic intelligence officer played Neil Patrick Harris is entirely and intentionally designed after the uniforms of the Nazi SS and the Gestapo.
Human beings aren't the heroes of this film, because the human beings in this film are fascist.
No scene makes that more clear than one near the end of the film, where Harris's character psychically interrogates a captured "bug." There's a pause as he probes its alien mind, after which he announces, to the gathered troops: "It's Afraid!" There's a great cheer from the gathered soldiers....but...why?
Because they're not the heroes. The whole premise of the film is overturned. These "bugs" aren't soulless horrors. They're capable of recognizable emotions, are sentient, are aware, and are fighting for their lives. Now they're being slaughtered, interrogated and tortured, and they are afraid. It's a cause of rejoicing! It means we're winning!
The film sneaks that in there, and it's part of Verhoeven's effort to subtly whisper the cruelty and brutality of the fascist ethos into the viewer. If we cheer along, we share their joy at dominance and power. That's the whole point.
Which is why seeing that very scene "memed" recently as part of a dark celebration of a very public murder is so peculiar. Seeing progressives embracing overtly fascist values and iconography is on point for our confused and benighted era. Because nothing is more definingly fascist than the belief in the power and moral virtue of violence.
It's a reminder of two things: First, satire can sometimes be too subtle for its own good. And secondly, vitally: we become what we most hate.
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