I decided that I should give myself a bit of time between my last post and this one, as I wanted to take more time to reflect on what I believe is science fiction. It's easy to fall into the trap of letting horror and fantasy genres creep into science fiction analysis because, in many cases, the three seem to exist simultaneously. I have been very tempted, for example, to share my thoughts on John Carpenter's 'The Thing'. I keep asking myself though, is Carpenter's 1982 film a horror film with science fiction threads? I think the answer is YES.
I've come to the conclusion that 'Tomorrow Is Now' should look at works of fiction that are set at some time in the future. Unfortunately, this may rule out some of works that many would consider to be science fiction. For example, 'Back To The Future'. Is it science fiction? I don't think it is. It has scientific elements, but it operates much more as a fantasy than a work of science fiction.
In my last post, I cited Robert Heinlein's definition of science fiction as one that I would recommend. Just to recap:
That's where I'd like to keep heading and, using that definition, I will limit myself in terms of my scope of review. I think, however, based on the volume of material that exists, I shouldn't have too many difficulties in finding suitable review subjects.(Science Fiction is) realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the nature and significance of scientific method.
Which brings me to my next point of clarification ...
I originally wanted this blog to be a forum for all manner of science fiction - film, television, literature, musical etc, etc, etc.
I have come to the firm conclusion that my main interests for review are film and television. These are the two mediums that introduced me to my love of science fiction and it is these two areas that I am most comfortable blogging about.
It's no surprise that, after several weeks of internal deliberation, that I sit down to review and find myself drawn to a film, albeit one that had an unusual development and has undergone one significant 'Director's Cut' in order for it to exist as it does today.
Before George Lucas became commercially successful with 'American Graffiti' and then 'Star Wars', he was simply one of a number of young aspiring film makers who had attended the University of Southern California School of Cinematic Arts. In 1967, while undertaking post-graduate studies, Lucas wrote & directed 'Electronic Labyrinth: THX 1138 4EB'. The film won first prize at the 1967-1968 National Student Film Festival and earned Lucas a scholarship at Warner Bros working under Francis Ford Coppola.
Coppola and Lucas went on to found the independent film company American Zoetrope, allowing Lucas to secure funding for his first feature film - a reimaging of 'Electronic Labyrith: THX 1138 4EB'. The film was released in 1971 as 'THX 1138'.
Now, lets jump forward to 2004.
The thirty-three years that passed between 1971 and 2004 saw George Lucas become the most successful independent film producer in history. His management of both the Star Wars and Indiana Jones franchises, along with the technical feats of his ILM effects company, gave him absolute film-making freedom.
One of the projects he was keen to revisit was 'THX 1138'. The original theatrical release in 1971 had not been successful. Nor had a subsequent re-release in 1977, which had tried to cash-in on the success of Star Wars. Undeterred, Lucas invested part of 2003 and 2004 in a Director's Cut of 'THX 1138'.
So, what do I think of the 2004 version of 'THX 1138'?
It's a seriously good piece of speculative storytelling. It's also a wildly inventive piece of film making; especially the sound track.
The story breaks into two parts, even though it conforms to the standard three act screenplay structure.
The first part of the story establishes the relationship between THX 1138, played by Robert Duvall, and LUH 3417, played by Maggie McOmie. The relationship develops against the backdrop of an oppressive future regime, where the citizenry is drugged to maintain peace and a Christ-like image is obeyed without question. LUH slowly but surely manages to wean THX off his drugs in an effort to have a truly meaningful, fulfilling relationship with genuine emotion. When SEN 5241, played by Donald Pleasance, changes one of LUH's work shifts in order to endear himself to THX, THX, who is longer drugged, becomes angry and reports SEN. This results in all three of the main characters being imprisoned for their various abhorrent behaviour.
The second part of the story sees THX, SEN and a hologram known as SRT, played by Don Pedro Colley, escape from their imprisonment and go on the run. Soon after their escape, SEN is separated from THX and SRT and THX learns that LUH has been "consumed". (This is a nice way of saying LUH has been murdered by the Government).SEN eventually surrenders and is lead away to an uncertain future. Meanwhile, THX and SRT steal two law enforcement vehicles, but SRT crashes his into a concrete pillar, leaving THX as the solo escapee. THX is pursued by two police androids on motor cycles and is forced to abandon his stolen car, turning the last minutes of the film into a foot race to freedom. With only metres between them, the police androids receive a message that they are to discontinue their pursuit as the budget for the recapture of THX 1138 has been exceeded. THX makes his way up a long ladder and exits into a new world knowing not what he will find.
Some viewers may find the characters dialogue a little difficult to comprehend, as Lucas has created a vocabulary that is unique to the world of THX. Reviewing this part of the film takes on a different approach in 2013, as our own society's language has changed in the last decade with the increased use of texting and tweeting. It is entirely conceivable that our language, as English speaking humans, will change to the point where future humans look at today's language and judge it as quaint and old-fashioned; much the same as we judge the language of prior centuries ourselves. This is an important acknowledgement in the judgement of 'THX 1138' as a genuine work of science fiction. The language the characters use is somewhat speculative, with all of the technical jargon littered throughout the film, but it is very much grounded in the language that you and I use every day.
The film's story is one that falls into the old cliche of "it's not the destination, but the journey that matters". It's also a story that relies as much on sound as it does on image. That's one of the reasons why I fell in love with this film when I saw the Director's Cut in 2004. The only basis for comparison that I have is 'Electronic Labyrinth: THX 1138 4EB', as I have watched the short film on YouTube a couple of times. I did not see the 1971 version, nor did I see the 1977 re-release. The short film is a "first attempt". Some of it works really well, other elements leave you scratching your head. I'm assuming the original feature length film falls somewhere between the short film and the 2004 version.
In addition to Lucas's efforts, there is no doubt in my mind that the success of 'THX 1138' can be attributed to Walter Murch, who collaborated with Lucas on the screenplay and provided the 'sound montage', as its referred to in the credits. The 2004 version of the film brings to the fore all the very best of his sound work on the film and makes for an incredibly dense soundtrack. Much of the background exposition about the society in which THX lives is provided by the background dialogue.
The 2004 version of THX 1138 is a wonderful piece of film making from a person who has had his fair share of critics for his subsequent work; especially the 1999 to 2005 Star Wars films. While some of its content may confound the casual viewer, THX 1138 is a genuine work of science fiction that genuinely postulates an alternative future for humanity, where our reliance on prescription drugs and automated technology has reduced our capacity to feel happiness, hope and love.
