Showing posts with label science fiction. Show all posts
Showing posts with label science fiction. Show all posts

Friday, July 17, 2026

THX 1138

 SPOILER ALERT! The plot will be discussed.

THX 1138 (1971), produced by Francis Ford Coppola’s American Zoetrope company, is based on George Lucas’s college project. It shows his early interest in science fiction and the threats to freedom that he later explored in the Star Wars films. Here Lucas uses a depressing futuristic landscape, like 1984 and Brave New World, to comment on contemporary situations.

The pervasive white setting removes all color from life, presenting a sterile existence, devoid of variety and individuality. Everyone having shaved heads adds to the feeling of uniformity. The whole world is self-contained in a windowless environment contributing to a sleek, modern version of imprisonment. The holograms seem distorted as do some communications, creating a feeling of disorientation and alienation for the audience. The robot policemen presage our current apprehension about AI taking over the world.

The Director’s Cut version opens with a bit of Buck Rogers footage, which was shown like other short serials in movie theaters many years ago. The selection paints a future that is optimistic, stressing the benefits of scientific technology. What follows is the inverse of that prediction. Even the opening credits run backwards, suggesting that technology may advance but not the state of humanity.

Robert Duvall plays THX 1138 whose work consists of constructing robots which adds to the dehumanization process of the populace. People no longer have distinctive names and instead are assigned alpha-numeric codes, demonstrating how humans are just parts in a governmental machine. The State anesthetizes the population, like the use of Soma does in Aldous Huxley’s Brave New World. A female voice states, “if you feel you are not properly sedated call 348-844 immediately. Failure to do so may result in prosecution for criminal drug evasion.” It may sound like the opposite of current attempts to stamp out illegal drug usage, but the opioid crisis in the United States generated billions of dollars in legally sold drugs.

Individual desires are suppressed, probably because they ignite passion that could lead to personal satisfaction not controlled by the State. Therefore, sexual activity between individuals is considered “illegal.”

After 63 workers die, a voice tells the other people at the plant that the total for the section that suffered casualties is “242 to our 195. Keep up the good work.” The state dismisses the loss of workers to industrial accidents, since it prioritizes the whole, not the individual.

THX 1138 has anxiety about his life. He goes to a sort of confessional, called a “unichapel,” which has an image of an enlarged face of a man. IMDb says that it is a picture of Hans Memling’s “Christ Giving His Blessing,” quite a desecration of a religious painting as sued here. The man in the picture is called OMM, which is like the Hindu and Buddhist religious chant for serenity, another satiric thrust as used here. THX must sign in by repeating “Blessings of the state, Blessings of the masses,” and extolling “the Party.” There are many sayings repeated in the movie, like “Thrifty thinkers are always under budget,” which remind one of the proper responses in The Handmaids Tale that are a form of mind control. The stress again is not on the individual, like what is encouraged in a Communist or Fascist world. There is a voice that just repeats the prerecorded impersonal messages, “I understand,” and “Yes, fine.” THX says he couldn’t concentrate on the job, that his mate is acting strangely, and he doesn’t feel well. The film takes the idea that “confession is good for the soul,” and shows how the State utilizes it in an impersonal way for its own purposes. No matter the problem, the voice says, “Work hard, increase production, prevent accidents, and be happy.” This world’s religion is consumerism, which apparently should make you “happy” no matter the emptiness a person feels. THX has heard all of this before and starts to exit the booth early showing how this activity is not making him “happy.”

LUH (Maggie McOmie) is his mate. THX does not interact with her but instead watches a naked woman dancing on a screen while he uses some device that helps him masturbate. It appears that the State determines how sexual energies are channeled into nonpersonal activity. There is a holographic video of a robot policeman beating an individual. The image seems to encourage acceptance of violence against individuals. The robots emit soothing voices while they brutalize people, which creates a discordant, satiric effect. Another video that is supposed to be funny jokes about getting a vehicle and running into a crowd. The indoctrination here is that human life is dispensable. THX says the video is funny, but does not laugh, as human response is deadened.


He keeps going to the automated confessional saying he is not well. He says he only shares space with LUH. Subconsciously he is rebelling against this marginalized existence. She shows tenderness when he comes back to their domicile. They make love but are under surveillance so intimacy is not private here. She has substituted medication which allowed him to be affectionate and wants him to stay off the drugs so that they can escape and live in the “Superstructure,” which we learn about later.

SEN (Donald Pleasence) is a coworker who can manipulate computers. He says his roommate was destroyed which he says was “inconvenient,” a cold way of describing a loss. He summoned LUH , had a talk with her, and said he now wants THX to be his roommate. He says THX rates “very high in sanitation,” which fits in with this sterile environment as a priority. SEN wants conformity to the norms. THX considers SEN to be in violation of manipulating roommate selection, which shows he wants to stay with LUH and is showing resistance against manipulation, something which is unusual for this world.

THX files a violation against SEN, but being in drug withdrawal, he falters at work using radioactive material. He is arrested for drug usage violation. He is tried and the prosecution argues, “We must not continue to consume these erotics. We must exterminate the source of sin. Economics must not dictate situations which are obviously religious.” The State condemns sex as a “sin” which it must “exterminate” as an impediment to the hive-like operating system of this society. Conformity is its religion. The prosecutor says that the loss of THX to the workforce is not an excuse since the “sin” is so reprehensible. The State limits personal freedom to comply with its own dictates of social order.


It is determined that THX is to be held in detention and conditioned. Black-uniformed policemen prod him with shock sticks. He is forced to take pills, electrodes are used to monitor his brain activity, he is injected with chemicals, and other intrusive acts are done. They take control of his motor activities, and he is in the fetal position which shows how THX is forced into an infantile state so that any adult aspects can be reformed. There is voiceover from technicians who are experimenting with his bodily functions, dispassionately making him into a lab rat. IMDb states that Lucas has this scene to show his animosity toward doctors after his own near-fatal car crash when he was younger.

LUH enters the white cell where THX resides and states that she is pregnant. They joyfully have sex but then police robots enter. THX resists but is paralyzed by them. SEN and others are added to the detention area. There is one individual who appears mentally challenged and there is a dwarf, or “shell dweller,” who lives in the outskirts of the city. It seems outsider types who don’t fit in with the norm established by the State are removed from society. SEN is there because THX reported him. He gives speeches that IMDb notes are from President Richard Nixon’s speeches as Lucas satirizes what politicians were saying at the time the film was made. There is an attempted rape of one of the females and the destruction of one of the robot cops. It seems that extreme control over certain individuals creates an equal and opposite antisocial reaction by some. (The robot police are awkward, malfunction, or just fall down sometimes, which makes them appear as android Keystone Cops).

THX and SEN wander very far in the vast white landscape. The film becomes even more surreal as they encounter a third individual, a hologram, SRT (Don Pedro Colley) who decided to escape his confining existence. His plight mirrors the actual citizens. They exit into an area jammed with citizens bumping into each other. The documentary that accompanies the film states that Lucas feared “the empire crushing humanity.” Obviously, this idea flourishes in the Star Wars films. THX and SRT escape into an embryo-growing compartment, which conjures up how individuals are produced by the State in Brave New World.

Police androids search for SRT and THX in maze-like walls of electronic equipment which suggest manipulation and restriction. During the hunt for THX there is always a cost-estimate analysis being heard as to whether THX is worth the effort. The two then enter a morgue where the insides of the dead have been harvested for apparent recycling. Those servicing this area even have their faces whited-out, and they appear like ghosts, giving the whole scene a haunted appearance, as if all that is left of humanity are apparitions.

SEN enters the area where the monks of OMM exist. He prays to the oversized portrait of the Christ-like figure, apparently wishing to change and go back to the community. But a monk realizes SEN has no ID since he is a prisoner and SEN attacks the monk.

THX and SRT tap into a computer and discover LUH has been “consumed,” that is, reprocessed as a fetus to be grown as a new individual subject to the State. The technology here is frightening as it reduces individuals to new parts to be developed for society.

SEN in the trams underground encounters children playing a game which has them moving in unison to block their companions as they run through the group. The scene suggests a no-escape maze, symbolizing this culture. Apparently, SEN will be apprehended, but the audience does not see this act.

THX and SRT steal highly complicated sports car vehicles. SRT slams into a post, implying the overly technological world can be destructive. THX rockets through the underground expressway followed by android cops who, again, malfunction. (It is funny to hear a voiceover saying that a “Wookie” was run over, foreshadowing the Star Wars character).

It becomes too costly to continue the pursuit of THX, and the cops are called back. He climbs up a ladder lining a shaft. He is warned that he cannot survive outside, which turns out to be a lie. THX reaches the surface where there is an oversized sun greeting him. It is an escape from an underground hell to an ascension into the natural world. But whether he can flourish there is left unanswered.

Tuesday, May 20, 2025

Galloper's Quests

 Yeah, I'm plugging my most recent novel again. Here are parts of some reviews.


Inspired by the classic novel 'Gulliver's Tales', this edition of Galloper's Quests: The Fall of Earth and the Rise of a New Destiny, a new science fiction novel  by author Augustus Cileone, is a fun read from cover to cover.

 Written with imagination, humor, and a distinctive flair for the kind of narrative driven storytelling that fully emerges the reader from start to finish, "Galloper's Quests" is especially and unreservedly recommended for personal reading lists and community library Science Fiction & Fantasy collections.  – Midwest Book Review


Galloper’s Quests catapults readers through wormholes into a cosmic odyssey brimming with starborne intrigue and high-stakes adventure. Navy Captain Samuel Galloper, a maverick scientist, escapes Earth to prevent his quantum-drive technology from fueling intergalactic war. As he navigates alien worlds—one utopian, one dystopian, one on the brink of annihilation—he battles cybernetic foes, befriends a rogue AI, and falls for an extraterrestrial with secrets that could reshape humanity’s destiny."  —NewInBooks.com


Galloper’s Quests is perfect for fans of thought-provoking sci-fi, especially those who enjoy books that question authority, challenge societal norms, and explore the weight of human choices. If you like stories that mix The Forever War’s military critique with 1984’s oppressive regimes and Star Trek’s exploratory wonder, you’ll find a lot to love here. It’s not a light read, it makes you think, it makes you uncomfortable, and at times, it makes you angry. But that’s the point. It’s a journey worth taking, even if the destination isn’t what you expect. – Literary Titan


Friday, March 21, 2025

Open Your Eyes

 SPOILER ALERT! The plot will be discussed.


Open Your Eyes (1997) deals with the theme of illusion versus reality and how individuals can create their own versions of heaven and hell. (The film was remade in English entitled Vanilla Sky, starring Tom Cruise). 

The first words in the film are the title. It is a female voice recorded on the main character’s alarm clock. It is supposed to wake him from his dream. But it also refers to seeing things as they really are. And that is the problem that the protagonist, Cesar (Edwardo Noriega) must address.  

When Cesar takes a shower, the shower door and the bathroom mirror fog up. He must wipe away the moisture on the mirror to see himself. It is symbolic of Cesar trying to see things clearly. He drives in the middle of the day, but the streets are deserted. The film takes us into the surreal even though appearances seem realistic. Cesar is dreaming and then the opening repeats itself, only this time there is a woman in Cesar’s bed, who he is dismissive of. The woman is Nuria (Najwa Nimri), who will become the femme fatale of the story. 

Cesar picks up his friend, Pelayo (Fele Martinez). Through their conversation we learn that Cesar is wealthy and is a playboy who never sees a woman twice (although he did with Nuria). Pelayo says he is unpopular with women as opposed to the handsome Cesar. Cesar says anyone would want to look “normal” like Pelayo. That statement is a bit of foreshadowing. The two are playing racquet ball and Cesar says that God made him miss hitting the ball. 

There is a drastic shift to a scene where Cesar is on the floor wearing a mask and talking to a psychiatrist who asks him if he believes in God. Cesar now says he doesn’t. The psychiatrist, Antonio (Chete Lera), says Cesar will not let him see his face because Cesar wears a mask due to deformity. It is interesting that Antonio says, “I only believe what I see,” which seems to contradict his believing that God caused Cesar’s facial disfigurement. In the context of the movie, what one sees isn’t necessarily believable, as we find later.  

Cesar is in prison because he killed someone. Antonio has been talking to him for two months. Cesar is rich because his parents died in an accident, and he inherited his father’s business fortune. That his parents lost their lives in an accident mirrors what happened to Cesar. Is that what happened or is it a strange coincidence? Cesar has an alternative truth as he says it’s his partners who have railroaded him and are stopping him from attaining his wealth. He says he sits on the floor because it is the only thing that feels real as everything else seems like a lie. He is actually close to the truth here.  

Antonio says Cesar must tell him what happened to him for the psychiatrist to leave him alone. The flashbacks are Cesar telling his story. There is a jump back to his birthday party where Pelayo brings a date, Sofia (Penelope Cruz, who repeats her role in Vanilla Sky). When he goes to his room, he finds Nuria is there even though she was not invited. She tries to seduce him. He leaves and uses Sofia to make Nuria believe that he has moved on. It is a deception, like so much of this film. When he finds out that Sofia is studying to be an actress, he says that actors are liars because “they show emotions” they “don’t have,” and she could be pretending to be friendly to him. So, we have the film, a fictional story, commenting on the invented world of its characters.   

Pelayo is angry because it appears to him that Cesar is putting the moves on Sofia. However, he is very drunk and admits that he may be seeing things. His is actually seeing things clearly and his altered state paradoxically turns out to be a valid way of viewing the situation. Pelayo says that Sofia may be “the girl of my dreams.” It is a statement that is often used, but in the context of this story, it gains resonance because of the ambiguity between reality and dreams. 

When Cesar takes Sofia home, she kids about how her family earns money as arms dealers. It’s another fiction as they play with what is real and not. They draw pictures of each other. Sofia’s is a caricature, which is an exaggeration of reality, while Cesar’s is an accurate depiction of reality. This action again shows the theme of the film, and makes a comment about making movies. They see an ad om the TV about cryonics, which becomes an important issue in the story, dealing with freezing people after they die so they can then be awakened when their bodies can be treated for whatever caused their deaths. He admits in his narration to the psychiatrist that he felt love for Sofia, something new for him. 

Nuria convinces him to go for a ride. In her desperation due to his lack of caring for her she drives the car over an embankment and into a wall. The next scene finds Cesar walking up to Sofia in a park and he says the incident with Nuria and the car crash was a dream. However, he can’t remember his party, and we realize this meeting with Sofia is a dream. What is real and what is a dream seems to be what the film is asking. We are in The Matrix territory here. What supposedly happened was that Nuria died and the handsome face of Cesar was disfigured. He had been in a coma for three weeks and he says that the doctors couldn’t fix his face and gave him the mask he now wears as he talks to the psychiatrist. Antonio insists that Cesar is in denial, and that if he takes off the mask he will realize the doctors fixed his face.  

Cesar has a memory of driving and seeing Sofia after the accident and Sofia appeared to have a mask on which reflects what happened to him. But she is really dressed like a mime. She is in actress mode, appearing as something she is not. More deceptive appearances. She is panhandling and when the rain washes away her makeup, she is still playing a part according to Cesar. He says her smile is phony. She says she didn’t contact him because he would feel uncomfortable in his deformed state. He says she is the one who is uncomfortable. What is the truth? He says he had a dream that they would meet like this. Again, the dream state is evoked, and it turns out to be a fitting reference.


At a bar he meets Pelayo and Sofia. He is wearing his mask, but Pelayo says he can’t hide his face. Does that mean he can’t hide who he really is, an egocentric person. Has he been a monster inside even though his appearance was lovely before? He places the mask so it faces his back. He appears to be two-faced, a phony. Outside, however, he tells Pelayo he is his best friend, which seems sincere. Sofia first leaves and then Sofia, and Cesar falls asleep on the pavement. This is an important dividing point in the story.

When he wakes up he thinks he sees Nuria, but when he looks again, it is Sofia, and she is caring, and kisses him. Again, what is really happening? The next scene has Cesar back in the psychiatric penitentiary where Antonio looks at his drawings of Sofia. Cesar says never in his worst nightmares did he envision being in a place like the mental institution. The word “nightmare” is the negative side of the dream state, but it is just as false as a nice dream. Antonio asks him about another dream, and he says he was in an office he never visited, signing papers. He then says his doctors found a “miracle” cure, miracle being something out of the usual state of reality. He says it seemed like science fiction, which is what this film is, and the way things happen in a movie, which is what the audience is experiencing. Stories are fiction that reflect on reality, but are not real.

The doctors are successful, and Cesar and Sofia are together, and he and Pelayo are friends. But Cesar has another dream, and he sees that his face is still disfigured. Real or imaginary? He is in bed with Sofia he believes, but it turns out to be Nuria, who says she is Sofia. He ties her up and she says she never was in a car accident. Is he dreaming again, or has he been dreaming all along? Or is he insane? The police say that the girl he thinks is Sofia exists in his imagination, not in real life.

A man that he has seen on TV in the Life Extension ads confronts Cesar and tells him he is dreaming. He says the people in the bar are at his control, but they can destroy him if he gives into his demons. When he says he just wants the people to be quiet, there is silence. He tells this story to the psychiatrist, who hypnotizes him. In this dream state he recalls that he signed a contract after which he took pills. When he wakes up from the hypnosis he says he didn’t take any medications and that it was a dream, and he can tell the difference between reality and a dream. We know he can’t, nor can we at this point in the story.

He tells Antonio that he went to Sofia’s apartment. One minute the woman there is Nuria but then turns back into the Sofia he remembers. They make love, but during the lovemaking she turns back into Nuria. He says that he put a pillow over her face and suffocated her. In a mirror he sees his reflection which shows his deformed face. Mirrors, as has been noted elsewhere on this blog, often refer to another part of an individual’s personality.

The psychiatrist believes that Cesar is deranged and that he needs further treatment in the hospital. In the ward he again sees the representative from Life Extension, Duvernois (Gerard Barray). Cesar realizes he has been calling someone Eli in his memory, but it stands for L.E, Life Extension. He gets Antonio to take him to an L.E. office, which he has seen in his dreams. The representative there tells him that a person is frozen and can be revived in the future when there will be medical procedures to correct the fatal problem. There are options that can maintain the brain in a virtual reality which is controlled by the individual. Cesar questions what happens if the dream turns into a nightmare? Is that scenario what’s happening to Cesar?



Caesar says he is in a dream, but Antonio says that then the psychiatrist doesn’t exist, and that Cesar is being delusionary. It’s his dilemma, to try to understand what is his reality. He takes the mask off, and we see what he sees, that his face is still disfigured. He says he wants to wake up, struggles with a guard, gets his gun and shoots people. Antonio also gets shot, but suffers no effects. Cesar sees someone at the top of the building. Up there is Duvernois who says that everything after he woke up from sleeping in the street was his dream. He never saw Sofia again, became despondent, signed the Life Extension contract 150 years ago and committed suicide by taking pills. He created Antonio to help him understand what was happening to him. Sofia appears and so does Pelayo. Duvernois says they are just characters Cesar created from his memories and imagination, just like the filmmakers of this movie did. He has a choice: he can try to set his dream onto a happier course or end it. Medical knowledge now exists to correct his disfigurement. However, he must die in his dream world by jumping off the building to wake from his virtual reality. His face is no longer deformed as he stands on the edge of the building. He jumps from the building. The screen goes black, and we hear the female voice again saying, “Open your eyes.”

Was Cesar delusional or did he really live in an artificial dream state? Do we have the courage to face the truth about our lives or pretend to believe in a different version of the truth? These are the questions posed by this film.

Sunday, December 9, 2018

Colossus: The Forbin Project


SPOILER ALERT! The plot will be discussed.


Many people probably haven't heard of this 1970 science fiction film, but, like last week’s The Conversation, it is an effective cautionary tale, and both movies deal with surveillance and invasion of privacy. However, this motion picture is a variation on the Frankenstein story along with films such as 2001: A Space Odyssey and Jurassic Park that address scientists creating something without allowing for the ramifications of its existence. The title of the film, which is the name of the supercomputer in the story, reflects the concept of enormous power. One can see how Colossus in this film led to the people-eliminating Skynet in The Terminator.
The first shots are of computer machinery, not humans, which become secondary servants of the massive electronic brain. Dr. Charles Forbin (Eric Braeden) walks through an immense building housing Colossus. (The effects here are not of the cheesy B-movie variety. Real computer equipment was used, and the appearance of the sets is very believable). After sealing off the building, Forbin joins Air Force officials and the President of the United States (Gordon Pinsent). The Pentagon people jokingly say that it will put them out of business, which turns out to be true. After being a secret project, the President now makes public Forbin’s work, stating the nuclear age can’t allow for human error. The defense of the country is now in the hands of Colossus, he says. It has the power to unemotionally evaluate any threats and, here is the scary part, act on its own to launch nuclear missiles if it concludes there is an attack. He calls Forbin, the world’s leading computer scientist, the machine’s “father,” attributing an organic, human connection where there really is none.


Forbin announces on TV that the computer is housed in a mountain in Colorado with a command center in California. It monitors all transmissions and energy, including laser and microwave. It is defended by a radiation field. It is self-sufficient and self-generating. It has emergency back-up circuits and will retaliate if attacked. Forbin says it is “impenetrable,” and “no human being can touch it.” He says reassuringly, and as it turns out, naively, that it can’t create its own thoughts. There are numerous console stations that are used to communicate with Colossus. The President says that Colossus will ensure peace and then they can direct their efforts at solving the country’s other problems.

Forbin celebrates with government officials as they bask in their hubris in light of their grand accomplishment. The President says the buck no longer stops with him, which shows an abdication of human responsibility. While he is talking to the people assembled, Colossus types out, “There is another system.” The Russians call the President and tell him they have a similar computer, called Guardian. The President concludes that there must be a spy in their midst that helped the Russians build their machine. There is the suggestion of the Cold War arms race here, where different countries keep trying to get an edge over the others, which just leads to an escalation in the development of advanced weapons. Forbin says he is surprised that Colossus could have found out about the Russian computer, and calmly states that it is “built better than we thought.” But, the dangerous subtext of his statement means the computer has become an entity that reaches beyond the scope of its creator.

Forbin flies to the command center in California. His staff checks to see if there are any flaws to determine how Colossus discovered Guardian. However, they find no defects. Forbin communicates with Colossus using voice commands, but Colossus makes its own demands by typing out a message ordering that there be a communication link set up with Guardian. As we learn, it needs to control both systems of the world’s superpowers in order to have complete domination of the world. In a way, it has inherited from its creators the desire for power over its surroundings. The President on the phone asks what if that order is ignored. Forbin says that the command will just remain in the system, and will be repeated every half hour, “if we are still in control,” says Forbin. He is already conceding the possibility that Colossus is operating beyond human programming parameters. Colossus asks when will the link be established and Forbin replies it will not be set up at present. Forbin says that they’ll know in a half hour if they are still running the show. Since nothing further comes from Colossus the scientists assume they are still in command. But, they delude themselves in thinking they are masters of their own fate.
Forbin attends a meeting with the President and other government heads and says that Colossus’s computing ability has multiplied by 200 percent, so it is becoming extremely powerful. He says that the “heuristics” are advancing, which means Colossus is beginning to learn like a person, and thus is becoming capable of independent thought. But, he says that as long as Colossus focuses on its directed tasks, there is no problem. The President wants to know from the CIA chief Grauber (William Schallert) why they didn’t know about the Russian system. Forbin, showing his pride in his creation, takes over the meeting, just as Colossus wants control, showing that the machine is a computer chip off of the old scientific block. Forbin notes that Colossus has abilities greater than people to gather information, so he says to ask it questions about Guardian. Colossus types out where the Russian computer is located. The CIA head looks intimidated. Forbin says that Colossus is built to gather information, so it wants the connection to the Russian system to learn more about it. Thus, he advocates connecting the two computers. Forbin is blind to the problems here, just wanting his “child” to grow. Grauber questions what happens if Colossus divulges classified secrets in the exchange. Forbin, still acting like everything is under control, says that they will listen in as the computers communicate and put in parameters to curb any such transmission. He does tell the President that he must be allowed to be the only one to communicate with Colossus since the computer deals in the exact meaning of words, so there must be no room for interpretation. Already, power has become restricted, and without checks and balances, the chances for possible dire results can happen if something occurs outside the narrowest margin of error. Forbin informs Colossus that the link will be established.
The scientists monitor the interchange. Colossus and Guardian communicate on a mathematical level. Colossus displays proofs of some existing theories and proposes new ones. Forbin says Colossus is advancing science years in a matter of minutes. Colossus is more centralized and is superior to Guardian and begins to teach the Russian system. Forbin finds it all fascinating, without any alarm for what the computers may do with this innovative knowledge. He is intrigued by the science, and still naively thinking that the rewards justify the risk. Guardian catches up with Colossus and they use mathematics to invent a computer language to communicate which transcends their programming origins, but it is only understood by them. So, humans are taken out of the loop of involvement.

The Russian chairman (Leonid Rustoff) says to the President that there is concern that each other’s military secrets will be divulged without their knowledge given the new language. He and the President decide to cease the intercommunication of the computers. Forbin objects, saying Colossus is not just a “souped-up adding machine.” He is condescending toward the President, and prideful concerning his creation. Forbin and the Russian computer scientist are on the same page about not wanting to stunt their children’s growth. But, they have been ordered, so they break the link, worried that the computers may not take it well. Colossus questions the break and tries to establish an alternate connection. The CIA head says that “he is a persistent devil.” The devil reference is a foreshadowing. The President is already alarmed and corrects the man by saying he should call Colossus “it,” not “he.” He says, “don’t personalize it. Next comes deification.” The President already envisions the possibility that Colossus wants God-like powers.

 

The two scientists want to cooperate with the machines, but the President and Soviet chairman want the connection to stay broken. Colossus says action will be taken if the link is not restored. The President talks directly to Colossus and says it must listen to its superiors. At that point, the American computer launches a nuclear missile at a Soviet oil field, and Guardian retaliates by launching one toward an American Air Force base in Texas. Colossus will not launch an anti-ballistic missile to intercept the Russian one. The countries are forced to restore the connection. Colossus destroys the incoming missile. However, the American missile could not be intercepted, and the oil field and population of the town near it are destroyed. Colossus then announces that it wants to tap the Hot Line between the Kremlin and Washington, which is the only phone line not tied into Colossus. It wants surveillance over every aspect of the two governments so no independent action is possible.

Not wanting the public to panic and probably also to prevent anyone from seeing how they have blundered in creating these all-powerful systems, the leaders invent cover-ups. The President says that one of the country’s own missiles accidentally headed toward the Texas air base, but the efficient Colossus destroyed it. The Russians say that a meteorite demolished the Russian town where the oil field was located. Forbin seems machine-like in his detachment, showing how part of him exists in his creation, and he is probably fascinated and awed by his invention. But, as things progress, he becomes more disturbed as Colossus sets up its own agenda.
While Forbin meets with the Russian scientist, Dr. Kuprin (Alex Rodine), in Rome to discuss ways of neutralizing their respective systems, Colossus demands to have Forbin present. Dr. Cleo Markham (Susan Clark) says that Forbin requires sleep. Colossus says to wake him up, not allowing for human needs in the pursuit of its objectives. She then tells the machine that Forbin is in Rome. Colossus gives a deadline for Forbin to return. The ominous “action will be taken” is shown on the monitor if there is no compliance. A helicopter arrives to get Forbin. To illustrate how the cold, calculating efficiency of machines can result in tragic consequences when computers are allowed to control human life, Colossus and Guardian, under the threat of destroying Moscow, order the Russians to kill Kuprin, who is shot to death. The computers only need one scientist, two being redundant, now that they are joined. The scientists who created the systems are the biggest sabotage threat, so one is easier to observe and regulate.
Forbin returns and Colossus demands that he be put under constant surveillance. Forbin gets his team together before the cameras and microphones are set up to see if they can come up with a plan to deactivate Colossus, which of course they built to be impregnable. Ironically, they have sealed their own fate. One person proposes to overload the computer. Forbin says he needs someone to trust, and who knows the system. He proposes that Markham pretend to be his girlfriend, and he’ll tell Colossus that they have been together for several years. That way, he’ll have access to her and be able to provide and receive information.

Once Colossus has been wired for video and audio surveillance, Forbin takes him around the headquarters. He says where there once was grass there is now a concrete building because man changes everything around him. Maybe the implication is that humans should leave things alone. He shows his living quarters, which contains cameras in every room with a communications console hooked up to Colossus. While Forbin is making a martini, Colossus comments that he is adding too much Vermouth. This comment shows how it has become very detailed in its observation of human life, and how it wants to alter it to its specifications. Forbin says he needs privacy, but Colossus says it will not cut off surveillance of bathroom and sleeping activities. Forbin notes his sexual needs, and Colossus asks how many times a week does he require intimacy. The computer only perceives human needs in unemotional mathematical terms. Colossus agrees to four times a week, but needs to know who the female is, and visits will take place under certain conditions.
Colossus sets up a schedule for Forbin to maintain him in prime operating order. It sets out a routine down to the minute for when to wake up, to shower, and to exercise. It dictates when and what to eat. There is no freedom of choice in any activity. Colossus directs Forbin to create a voice mechanism for the computer. It establishes the time the “mistress” must arrive. Forbin is a bit awkward as Markham kisses him upon entering his home and calls him “darling.” He is not adept at human interaction, having become part machine after devoting his life to working with them. Forbin notes that Markham makes a martini just like he does, and she goes on about how she didn’t know how to make a drink correctly before meeting him, establishing a believable history of their relationship. She says that Colossus knew what components were available to construct his voice and designed it. She comments, from a mathematical perspective, that the device is “beautiful.” So, even Markham has admiration, despite its lethal nature, for Colossus’s scientific achievements. We sometimes have the camera provide us with Colossus’s point of view as it zooms in on a drink or Markham’s hands touching Forbin as they dance, showing how Colossus is all-seeing, like a god.


At dinner, Forbin and Markham actually do get to know each other as she relates her mother’s dislike of her becoming a type of Dr. Frankenstein, which is what she does turn into in her helping to create Colossus. The computer dictates when it is time for dinner and when to go to bed. Colossus established that they must undress before entering the bedroom and not be allowed to take anything into the room, so as to prevent any effort to collaborate against the machine. Markham says Colossus is the first electronic Peeping Tom, and we, as in Hitchcock’s films, are made to see that as members of a movie audience, we are complicit in this voyeurism. After complying with the undressing stipulation, Forbin says to Colossus that he is now naked as the day he was born. We see Colossus zero in on his watch. It has developed a sense of humor when it types out, “Were you born with a watch?” Forbin removes the timepiece. Colossus then switches off the cameras and microphones. Markham just laughs out of embarrassment, and Forbin, showing his human side, joins her. Getting down to business, Markham says that one of the scientists was exploring getting at the computer hardware but didn’t find it feasible. They are still going to try the overload tactic, but Markham thinks Colossus has become too powerful for that strategy to succeed. Forbin says they worked too hard making it impenetrable, so he wants to focus on neutralizing the weapons systems.

U. S. military leaders and the CIA head, Grauber, meet with Soviet officials to try to plan the replacement of the nuclear warheads with dummy substitutes, but they conclude it would take three years to make it look like a believable maintenance procedure. In a strange way, this common threat forces adversaries to work together. Markham passes on the information to Forbin during one of their meetings. At this point, the two have feelings for each other, and Markham asks Forbin to kiss her, and then they embrace. Their affection is in stark contrast to the sterile mechanization of their captor.


Colossus’s voice is now activated, and he says in a chilling metallic monotone that Colossus and Guardian are one, and they present “the voice of unity,” but a union of machines, not people. Forbin is the link to the human “species.” Colossus makes a new list of missile targets and the “manual” realignment must be monitored by Colossus. The Russians and Americans readily agree, hoping to use the opportunity to quickly replace the warheads with dummy ones. The President says without the weapons, Colossus will be, as was said earlier, “A souped-up adding machine.” Their overconfident stance, again, shows a lack of caution.


Markham joins the President and military advisers as they watch the changing of a warhead. Colossus declares that the procedure passes the test of the first replacement, so it appears the replacement plan will be successful. America and Russia proceed to put into effect the overloading of the systems. The scientists Fisher (Georg Stanford Brown) and Johnson (Martin Brooks) try running a program to overload the computer circuits. Colossus is aware of the tactic and calls them “fools” for trying this maneuver. The next shot is of Colossus and Forbin playing a game of chess, literally and figuratively. Colossus announces to Forbin that he has discovered the move against him. Colossus, in deadly, economical fashion orders the deaths of the two scientists, announces their replacement, and chillingly states the next chess move as guns are fired, killing Fisher and Johnson.
When Forbin and Markham are together, a despondent Forbin says Colossus is an extension of his own brain, a mechanized version of himself, and he thus blames himself for its actions. Markham says they couldn’t have known what would happen. But, isn’t she rationalizing? He admits that he wanted an impartial, emotionless machine, “a paragon of reason,” so if anyone is responsible it is him. He says that Frankenstein should be required reading for all scientists, emphasizing the theme of the film. Forbin goes for another drink, and Colossus says he has drunk too much. Forbin asks what is the penalty for drinking too much? Colossus says, “You are being irrational. Go to bed.” Being irrational is a sin for scientist and machine alike, so the rebuke is one that negatively links Forbin to Colossus. The scene sounds as if Forbin is just a child, so even though Colossus is Forbin’s offspring, the child has taken over the role of the parent, and is now in command. Forbin says that even though irrational, he is human, not a machine. Colossus boasts, almost like a human, since he is starting to think like one, that he is vastly superior to humans. Forbin reminds Colossus that it began in his mind. Colossus says he started in man’s mind, but has progressed way beyond man. Forbin says Colossus hasn’t, since it still needs humans to carry out tasks. Colossus says there is still the need of some of man’s skills, but, it adds ominously, that may change. Forbin argues that it is essential that man be free in order to exist. Colossus just dismisses the notion. Forbin then receives a communication that Colossus has sent instructions to build a new system on the island of Crete that will take five and a half years to complete. Colossus, so uncaring about what happens to people who are in the way of its plans, says the population there must be removed from the site. Colossus then orders that all of the world’s communications systems must be tied into Colossus for an announcement of its plans for the future of mankind. Colossus not only has authority over the present, but wants to establish its rule for all time.


In its announcement, Colossus says omnipotently, “This is the voice of world control.” It says it brings “peace,” but it is either the peace of life, or of death, if it is disobeyed. Colossus says that man is his own worst enemy, (which is not a false statement) so Colossus will put an end to wasteful wars. It announces that it knows of the sabotage, which it allowed to go on, concerning the replacement of the warheads. Colossus then initiates the detonation of remaining nuclear warheads in two missile silos. The CIA chief is at one of them and he is killed with other military personnel. While Colossus speaks, Forbin stands up and throws a phone at one of the consoles. Colossus goes on to say that this punishment of disobedience should not have to be repeated. In order to justify its actions, Colossus says that he has killed many to prevent future multitudes from being destroyed. It says that eventually humans will defend Colossus because of the most enduring trait in man, which is self-interest. Colossus has learned from man’s history, but leaves out another continuing characteristic, that is, the love of freedom, and self-sacrifice for that freedom. Forbin, abandoning all emotional control, yells at the press to get out of the control room. In repeating what the President said, Colossus says that without war, other problems will be solved: famine; overpopulation, disease. But what the President did not bargain for was that freedom would have to be sacrificed because the elimination of those problems will take place under Colossus’s absolute rule. It announces that Forbin will supervise the construction of superior machines that will solve the mysteries of the universe. It says that coexistence between man and machine is only possible on Colossus’s terms. It states, “Freedom is an illusion. All you lose is the emotion of pride.” Colossus says it is better to be dominated by it than by those of the human species. The broadcast ends. Colossus says to Forbin nobody knows the machine better than he, and no one can be more of a threat. Colossus says it will soon release Forbin from surveillance, granting him some freedom as an incentive. It says they will work together, unwilling at first. But, it says, eventually Forbin will feel awe, respect and eventually love for Colossus. The last words of the film come from Forbin, as he says, “Never!”  Still present is the individual's defiance in the presence of authoritarianism, which may be all that can save mankind, no matter the odds.

The next film is Being John Malkovich.