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Jean-Marc Gulliet: Paper for NYU's MindBodyMedia, Summer 2001
A.I. Artificial Intelligence: A Movie Review Steven Spielberg’s A.I. Artificial Intelligence may be one of the most impressive sci-fi movies ever produced. First, thanks to Stanley Kubrick, it has a scope that stretches far beyond the traditional shortsighted sci-fi movies. Spielberg’s A.I., like Kubrick’s 2001: A Space Odyssey, encompasses a broader philosophical dimension beginning with humankind as its focal point of reflection. However, the two movies diverge on where they are looking for to get an answer to their not so different questions. 2001 was a tale built around the quest of happiness looking outward, toward the heavens, and eventually implying that happiness can be reached by the fusion of man with God. On the contrary, A.I. looks inward, within the deepest part of the human soul by the mean of a loving-without-restriction machine, David, artificial intelligence which/who will never grow up and can only love unconditionally. Spielberg illustrates that happiness may equal love, but true love, total love, can be very difficult to bear. Ironically, at the end of the movie, after humankind has succeeded to decimate itself, David has no other mean to fell a true reciprocal love from his mother than to recreate his mother, the perfect mother for one day, who will be able to bestow her heart on David, without interference from other people or from her own feelings. Works Cited 2001: A Space Odyssey. Dir. Stanley Kubrick. Perf. Keir Dullea, Gary Lockwood, and William Sylvester. Metro-Goldwyn-Mayer, 1968. A.I. Artificial Intelligence. Dir. Steven Spielberg. Perf. Haley Joel Osment, Jude Law, Frances O’Connor (II), and Sam Robards. Warner Bross, 2001. Bradston, Gill, and Roy Stafford. The Media Student’s Book. 2nd ed. London: Routledge, 1999. Gibson, William. Neuromancer. New York: Ace Books, 1984. |
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