Thursday, July 15, 2010

At the Movies: THX 1138

After getting together for a Watchmen Directors Cut viewing, me and my buddies Adam and John decided this experience should be a weekly occurrence and the movies should be new to at least one of us. This week, Adam selected THX 1138: George Lucas' 1971 1st feature film based off his short college film. The film maintains many of the tropes of a college film, favoring visual imagery over a well defined narrative. It also feels right at home in the 70's sci fi genre, sharing elements from The Prisoner, Logan's Run, Solaris, and the grandaddy, 2001: A Space Oddity. At times I found myself a bit bored with the film, but that could be chalked up to the time period (and my attention span). Initially, I wondered how a meditative movie like this could have come from Ol' Georgie. But as it progressed, I realized there is indeed a spiritual connection between this and his grand Star Wars opus.

While both the characters of Luke Skywalker and THX1138 face an oppressive regime they struggle to rise above, THX finds himself in a much more stifling situation. While Skywalker is merely bored and craves adventure and excitement, THX find himself in a society which has eliminated all individuality or artistic expression. Even sexual desire is forbidden, as it is for Anakin Skywalker and all Jedi in the Star Wars Prequels (which speaks a lot to Lucas' hangups, but I digress). Medication is provided to quell the need for human expression which is certainly still relevant in our prozac nation. There is a religious aspect to this society, although it appears to be merely a facade. Characters are seen in a futuristic confessional booth conversing with an automated voice and a static image of Jesus christ. THX and his roommate, ZUH, are seen in a kneeling position as if praying toward Mecca briefly, but no further explanation is given. THX is eventually led out of this induced haze by ZUH and the two express their love for one another and are persecuted for it. THX is beaten and sequestered, but eventually escapes alone to a unknown surface which appears to be a free haven. The threat of this type of society coming to fruition is not significant, but the feelings of oppression and isolation are all to real , especially in the teenage years. There's also the theme of overwhelming technology which may be even more relevant now than it was back then. The bottom line is Lucas is dealing with some pretty heavy stuff and doing it with style and refinement. Which begs the question: WTF happened to George Lucas?

Visually and audibly, the film shares even a more closer connection to the original Star Wars trilogy. There are many an electronic beep and hum which will bring back fond memories of your youth. The writing credits for the film are shared between Lucas and Walter Murch who primarily works as a sound designer. Visually, there's the stark black on white of Vader and the stormtroopers, there are droids with limited capabilities, and there's a lot of big computers like the ones used to operate the death star. There's holograms, a car chase which might have well been speeder bikes and it ends on a giant sun setting in the West (allright, there should have been two suns). Unfortunately, many visual elements that have been tinkered with by Lucas which brought me nothing but dismay. This debate has been going on for what seems like forever and obviously I'm not going to end it. But I really would have preferred to see this film in its original format to appreciate what was accomplished in 1971.

THX 1138 was a challenging movie for its time, but at this point serves more as a ancillary tale on Lucas' path towards a cultural phenomenon.

*Final thought* After the opening accident at the plant where THX 1138 works, he brings home a multi-sided red object which he seems fascinated with. The red of the object pops amongst the grayscale frame it sits in. He drops it down the waste disposal when his roommate enters the room. It is clearly a sign that his conscious is fighting the medication, but I expected it to appear later in the film which it does not.

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