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Thu. Jul. 5, 2001
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Art & Culture > Movie &Theatre > Archive
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Movie Review: A.I. Artificial Intelligence (DreamWorks/Warner Bros., 2001)
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CAST
David Swinton... Haley Joel Osment
Monica Swinton... Frances O'Connor
Henry Swinton... Sam Robards
Gigolo Joe... Jude Law
Teddy... Jack Angel (voice)
If you liked 2001: A Space Odyssey, then A.I. Artificial Intelligence is the movie for you. The reason? Because the same twisted, creative, eclectic mind that brought the world 2001 - as well as Dr. Strangelove and A Clockwork Orange - was the same mind behind A.I. That mind belongs not to Steven Spielberg, whose name and production company are slapped all over promotions for the film; but rather to the recently deceased Stanley Kubrick, who was perhaps the most consistent and persistent explorer of the human condition Hollywood has ever scene. A.I. was a project he was not able to complete in the latter years of his life (unfortunately he chose to finish Eyes Wide Shut, a sexual thriller no one needed to see).
As has been the case with many Kubrick films, A.I. has elicited almost binary reactions from critics, who have either loved it or hated it. The reason for this stark division of opinion comes largely from the expectation of the viewer. If someone wants to spend not more than 90 minutes being thrilled by action, mesmerized by special effects, titillated by torrid romance, tickled by mindless humor or shocked by excessive violence, A.I. is not the movie to see. However for the discerning viewer, interested in patiently exploring the sometimes troubling issues related to artificial intelligence for two and a half hours, then A.I. will take them on journey of emotional depth and moral and ethical questioning.
A.I. deals with the "birth" and "life" of 11-year-old David, the world's first automaton with the capacity to love. He is given as test case to Monica and Henry Swinton, whose own son Martin, stricken with some terminal illness, is cryogenically frozen with no hope of ever returning to the family.
At first, Monica is hesitant to effectively replace her own natural son with a robot. However, after some consideration, she decides to keep David. To make David's new life complete though, she must first speak a specific code sequence in order to initiate his emotions. What happens next is somewhat unexpected. David imprints upon Monica with fierce intensity and devotion, and it is here that his troubles begin.
As fate would have it, the Swinton's son miraculously recovers and returns home to live with the family. A rivalry for Monica's love develops between him and David, with Martin baiting David into situations Monica and Henry deem dangerous. As a result, the family decides to discard David, only Monica cannot bring herself to return him to his makers, who would surely deactivate/kill him. She instead drives him to the woods and turns him loose to fend for himself.
Having become so attached to his new mother, David sets about the task of finding her again, using the story of Pinocchio, which Monica had read to him, as his blueprint. By his reasoning, finding the story's Blue Fairy will end his search, because she can turn him into a real boy thus making him fully acceptable to Monica.
Assisting David in his search is Joe, a robot male prostitute who is captured along with David by a sadistic carnival owner who uses robots for target practice at his Roman Coliseum-like shows.
The two do however escape and Joe helps David in his quest, which takes the two over hill and dale, into the grungy depths of metropolitan red-light-district life, and finally to the ends of the earth where David meets his true creator.
The movie ends on a happy note of sorts. Mother and son are reunited, but not as one might think. Regardless, it is a reunion that is just as real for Monica, who can finally express her full love, as it is for David, who can now see himself accepted as real boy.
In all, A.I. is an interesting look at those qualities Allah (swt) has imbued his creation with that make us human. It additionally questions the seemingly never-ending pursuit of man to mimic Allah's (swt) divinity, and it brings to mind the verse of Qur'an in which Allah (swt) tells us that there will be those people who conspire to create from nothing, just as Allah has done; yet they will fail at doing so, even if it were something so seemingly simplistic as a fly (22:73).
There is very little objectionable material in A.I. In the first 10 minutes, Muslims will be taken aback by hearing what they think is name of the holy city of Mecca being used a little too casually. In actuality though what is being said is "Mecha", which is short for "Mechanical". So fear not.
There is some reference to sexuality since an entire race of "pleasure robots" exists in this futuristic world. As can be expected there is some kissing, and one instance of some dancing, but these moments are fleeting and do not take prominence in the storyline. But, for those who want to be on the safe side, the IOL Avert Your Eyes and Ears Monitor suggests one be aware of the following:
1) 18:03 -- David, thinking he's playing hide and seek, finds Monica on the toilet.
2) 53:00 -- Joe meets one of his "clients" for an encounter. Scene lasts until about 57:30.
3) 1:21.30 -- Joe makes crude mention of his work as a male robot prostitute.
4) 22:40.00 -- Joe shows some people a hologram of a dancing girl. Shortly thereafter, they enter a red-light-district where some of the architecture is suggestive.
The performance by Haley Joel Osment (of Sixth Sense fame) is first rate as he portrays nuances of emotion well past his years. The film can be a bit choppy at times and some might argue that the ending is forced, but once again, this movie is preaching about something, and therefore has a higher purpose than pure entertainment. The special effects are typical Spielberg and quite cool, and in general A.I. it should leave viewers thinking. For Muslims it may be one of the better choices for a summer day at the theater although it is definitely not kid's stuff.
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