Movie Review: THX-1138
THX-1138, the main character in the film THX-1138, works as a magnum operator in cell 94107. He was literally created to manipulate the magnum along with other people in his society. In general, the THX-1138 movie is one of the best films that the creator of Star Wars, George Lucas, has ever scripted and directed. In 1976, Lucas produced Electronic Labyrinth: THX-113: 4EB, a short film that won various awards and introduced Lucas to movie fans globally (“George Lucas Biography”). The success of Electronic Labyrinth impressed the director of The Godfather, Frances Coppela, who urged Warner Brothers to provide support for “a full-length version of the film” (Glettler 1). Moreover, Coppela assisted Lucas in the writing and production of the 1970’s THX-1138 (“George Lucas Biography”). Although the movie was a box office flop (Glettler 1), it managed to exceed the 1970s’ expectations and rise above the typical science fiction (“The History”). Typically, THX-1138 presents a chilling and fascinating dystopia, which has been forgotten over the decades. The film is astounding to experience and hard to describe because of its focus on aural and visual details, which constitute the largest part of the movie’s plot in opposition to the characters’ words and actions. Lucas, nonetheless, explained that his movies concentrate on maintaining a balance between sound and sight (Glettler 1). In the surreptitious city depicted in THX-1138, all things appear bleak and white with everyone looking bald-shaven, dressed in similar white clothing, and named using a prefix followed by a number. Additionally, video cameras monitor every location while computers control life and record everything. Only the surveillance and control rooms are darkened to help in view in the viewing of monitors. As a result, the entire movie is a combination of the austere white environment and the bluish-white luminescence of video monitors, as well as computer readouts. The plain sights, however, are contrasted with deep sound layers. For example, a deep echo and hiss are used to reveal the vast size of nothingness (Glettler 1). Radio sounds distorted by the clatter of machinery fill empty halls as people discuss surveillance and control issues. The movie also emphasizes the theme of strict surveillance and ceaseless control of the population, despite the fact that no one seems to be in control. Consequently, the film creates a terrifying and breathtaking effect. As such, the present movie review supports the idea that THX-1138 is a thrilling dystopian film that can be enjoyed by anyone with an interest in technology and society.
Awakening
THX-1138’s plot has three primary acts: the awakening; the arrest; and the escape. The narrative commences with THX, played by Robert Duvall, requesting his drugs’ cabinet to provide “something stronger” (Glettler 2). Soon, it becomes evident that he has been experiencing concentration problems while working as a police robot builder. As he continues working, the intercom transmits a congratulatory message praising THX and fellow workers because a mishap in a different sector has destroyed sixty-three workers, which gives the sector a loss of 242 whereas THX’s group has only lost 195 workers (Glettler 2). The grim statement does not affect anyone because all decisions are controlled by economics and, hence, every person is complacent. While returning home after work, THX spots a store with red, blue, and yellow shapes, which is a rare color splash in the entire movie. Suddenly, an announcement exclaims that anyone can buy blue dendrites at only forty-seven credits, but THX buys a red object. On reaching home, THX throws the red object away without hesitating. The scene reveals the hollow and meaningless consumerism that characterizes THX’s society and gives no function or meaning to products- apart from making and purchasing them. Nevertheless, before returning home, THX stops by a chapel dedicated to Ohm and gets into a tiny room that resembles a telephone booth (Nonis). The door shuts and florescent lights illuminate an image redolent of Christ. Subsequently, a voice saying “my time is yours, go ahead” is heard (Glettler 2). Shortly, the audience learns that the Christ-like figure represents the society’s religious icon, Ohm. THX begins to describe his troubles with concentration at work and mentions that LUH-3417, his roommate, is acting abnormally. He then admits his need for more sedatives to ameliorate concentration. While narrating his problems, Ohm replies, “Yes, yes I understandYes FineExcellentCould you be more specificYou are a true believer created in the image of man, by the masses, for the masses” (Glettler 2). As Ohm continues to speak, the audience is shown a tape machine playing back Ohm’s voice and a white lizard crawling through a tangle of electronics and wiring as a demonstration of God’s lack of humanity. The disturbing scene provides a glance into the reasons behind the existence of the underground society. On reaching home, THX begins to watch a holographic-like TV, which interestingly illustrates the first movie portrayal of TV channel surfing (Glettler 2). Entertainment in THX’s controlled society also appears quite unnerving. For instance, it includes pornography and videos of police robots beating people rhythmically, as well as holograms speaking intellectual and complex words that lack meaning or context. The background of the scene introduces THX’s roommate, LUH, who unlike other characters demonstrates emotional behaviors like looking afraid and alone. As THX continues to watch the well-organized drubbing on TV, his roommate is switching THX’s depressants for stimulants. The drugs’ cabinet then reveals that LUH is identified as ‘birth born’ while THX is not; hence, changing the doses characterizes the criminal offense of drug evasion. It is also disclosed that the use of sedatives to maintain calmness and conforming attitudes is mandatory. The subsequent drug imbalance causes THX to run into further problems at his workplace. He returns to Omnichapel where he explains his efforts to conform but Ohm repeats the earlier mechanical response and encourages him to find happiness in buying more products (Glettler 2). Eventually, THX collapses and blacks out as his roommate watches. On waking up, THX realizes that LUH swapped his drugs because she wanted him to love and touch her. Although THX was initially uninterested, the absence of sedation allows him to feel love towards her. As a result, the freedom from control leads them to engage in sex- an offense considered more serious than drugs’ evasion. Simultaneously, SEN-5241’s roommate has been destroyed by an unknown factor. His fondness for THX’s high sanitation rating makes him want THX as his roommate; thus, he attempts to turn THX’s attention away from LUH. Apparently, SEN boasts about his ability to control computer programs, but THX’s desire to remain with LUH makes him report SEN.
Arrest
Unfortunately, the withdrawal of sedatives reduces THX’s efficiency significantly. During a hazardous operation, for example, he drops a radioactive material. Immediately, personnel in charge measures THX’s biological patterns and discovers that he is experiencing a severe lack of sedation, which prompts an arrest and mind lock (Glettler 3). However, locking THX’s mind prevents him from picking up the radioactive material and makes an explosion inevitable unless the mental lock is released (Nonis). The different operations at the workplace suggest the presence of administrative hierarchy but no person takes blame or appears to be in charge. THX is accused of evading drugs and engaging in sexual perversion. At the trial, two lawyers deliberate punishment and one of the attorneys demands the source of transgression be exterminated arguing that economy should not dictate religiously motivated situations (Glettler 3). The debate is short and a computer makes the final decision that THX should undergo conditioning and detention. Consequently, robotic medics process and drug him while computers make tabulations about organs that are reusable. Next, a TV screen shows THX sitting in a huge white room as technicians discuss various tools casually. As they fiddle with knobs and buttons, THX experiences convulsions and cries with agony while technicians mildly discuss the different consoles they have used in the past. The incongruous discussion appears funny because it contrasts with the anguish the technicians are causing and, hence, creates a powerful scene.
Escape
LUH finds THX sitting alone and informs him about her pregnancy. Soon, however, police robots arrive and escort THX to a detention cell, which is infinitely vast and white. The room has other offenders who include SEN-5241. SEN wants to become the leader of the group but THX wishes to reunite with LUH. Accordingly, THX and SEN set out into the bright void in search of an escape route. On their way out, they encounter a hologram called SRT and discover an exit door that has no locks or alarms (Nonis). Thus, it is revealed that the offenders were only imprisoned by their unwillingness to escape. After exiting the detention cell, a deafening noise of people rushing about causes SEN to separate from THX and SRT. Later, administrators become aware of the prisoners’ escape and create a budget for their recapture. SEN moves through a labyrinth of tunnels and enters a vehicle that allows him to reach the outer edges of the metropolis. He looks at the city’s shell and feels infrangible freedom but senses his inability to function outside the familiar system that raised him. On the other hand, his return to the city would be useless because he cannot resume his previous duties. As such, he resolves to sit quietly and await his arrest. As he watches a group of children playing, one kid approaches him to ask for help since his IV equipment is damaged. The IV line is linked to a tiny bottle that reads “advanced primary economics” (Glettler 4). SEN informs the kids that primary economics during his childhood was actually “a ten-liter bottle and took a week of lying in bed” (Glettler 4).
In the meantime, THX and SRT are running to evade two police robots that are chasing them. They enter a room where SRT assists THX in locating LUH using computers. Regrettably, they find out that a fetus kept in a glass tube has been assigned the name LUH, implying the extermination of THX’s roommate. As SRT thinks loudly about technology and science, he concludes that perhaps “holograms aren’t supposed to understand that stuff” (Glettler 4). The subsequent scene reinforces SRT’s view when he crashes a car that he finds on his way. Meanwhile, THX drives through tunnels until he reaches the exit. He then starts climbing towards the city’s edge as police robots beg him to stop the escape claiming that they only want to provide him with help. They insist that THX cannot survive if he leaves the metropolis, but he continues climbing. The police give up the chase after realizing that the money allocated for the prisoners’ capture has been exceeded. While THX emerges from a “tunnel into the light of a setting sun, a bird flies overhead and he realizes that everything he has been told is a lie” (Glettler 4).
Nonis noted the strangeness of THX-1138 and categorized it as a monster movie. Throughout the film, however, the audience keeps speculating on the identity of the actual monster. Ultimately, it becomes perspicuous that the monster is an all-controlling computer. Other behemoths in the movie include economics and commercialism. The horrific nature of the film strikes the audience when commerce is connected to religion on screen, although in reality, such a connection becomes acceptable during rare events such as Christmas (Nonis). Despite the dreadful aspects of the film, Nonis concluded that THX-1138 is an excellent movie that anyone interested in science fiction would enjoy watching.
Analysis
Individuality
A major theme in the film THX-1138 involves the complete loss of humanity and individuality that faces every minor character in the movie. As a matter of fact, internal forces that lack a human controller drive the underground society portrayed. In particular, every activity is under heavy scrutiny although no one appears to be in charge. Lawyers discuss laws while a robot police force enforces them, but ultimately, every decision is computed. Accordingly, Mike O’Neal pointed out that the entire society is made up of followers (Glettler 4). Despite the lack of leaders, no individual appears capable of performing independent actions. Furthermore, the society has laws that require perfect conformity with subjects being reminded to follow the motto of “performance perfect is perfect performance” (Glettler 4). Additionally, severe drugs that alter the mind are used to keep every character under intense sedation. Yet, none of the characters can question the utilization of drugs because body implants and constant surveillance prevent such inquiries. In addition, the society is indoctrinated with a faith in Ohm, which restricts any questioning of the strange social structure. Ohm reminds the society that people exist for the masses and, thus, individuality is utterly wrong. The utilization of such technological, chemical, and social controls allows every character to carry out mindless or superfluous activities with incredible efficiency. Consequently, the society is no longer propelled by the inclination towards the happiness of its subjects. Instead, the need for effectiveness becomes the society’s primary driving force. As suggested throughout the movie, economics influence every decision. In a way, the film serves as a sinister reminder that giving up one’s liberty to a society that has no individual freedom can be spine-chilling. Thus, the conflict facing THX is embodied in the struggle for self-identity against a faceless group (Glettler 4).
Passivity
Every George Lucas’ film appears to emphasize the idea of pervasive passivity. Like the majority of Lucas’ works, THX-1138 portrays a passive society where its subjects have abandoned the willingness to become actively involved in their personal lives. For example, Star Wars films revolve around a few Rebels fighting against a powerful evil empire founded on indifference (Glettler 5). Similarly, THX-1138 portrays THX using personal willpower to fight his way out of the society. Since THX does not need unique strength or intelligence to achieve his objective, the film depicts him as a “regular guy” fighting without special training or skills (Glettler 5). Likewise, LUH is interested in breaking laws to regain her personality and give THX his individuality. Eventually, although LUH fails to escape the clandestine society, she demonstrates her willpower to sacrifice her own life and her child’s safety for the sake of regaining freedom. Notably, Buck Rogers’ film trailer precedes the THX-1138 movie in its theatrical release and VHS printing (Glettler 5). Typically, the optimistic Buck Rogers series details a society in the 25th century. In the film, Buck is an ordinary person with an astonishing resolve to pursue what he believes is right. On the other hand, THX-1138 presents a deep and dark outlook of a future society that is in stark contrast to Buck Rogers’ 25th-century society. Nevertheless, the central characters in both movies are strikingly similar. THX’s conviction to break away from the passive environment surrounding him is the primary factor that allows THX to regain his individuality. Furthermore, the strong belief in personal freedom is the driving force behind the clash between the individual and the society. In contrast to LUH and THX, SEN wishes to regain his personality but lacks the willpower to achieve it (Glettler 5). Initially, SEN appears strong as he arranges to be THX’s roommate, but it turns out to be a perversion (Nonis). While in detention, he attempts to lead his fellow deviants but finds himself falling into a relatively smaller society. As SEN and THX leave the passive society, SEN bleats about feeling alienated from his companions. SEN’s conditioning continues to control him until he begins to show psychosomatic symptoms such as breathing difficulties owing to the overwhelming fear of leaving society, although his section of society has been detained. Outside, the noisy movements of people deafen SEN who turns to a television studio to seek solace in Ohm (Glettler 5). At the studio, he asks Ohm for another opportunity to become useful to the society and requests an explanation for the preposterous experiences in his social life. While praying, a monk catches him but SEN knocks him out. As a result, he realizes that he cannot return to the society. Furthermore, he is incapable of escaping due to his unwillingness to abandon the city, although there is nothing to restrain him except his personal fears.
Connections
Various reviewers have analyzed THX-1138 in a critical light arguing that the film does not raise exceptional or new issues. Bukatman, for instance, provided connections between some of the issues expressed in the movie and similar themes in other films (Glettler 5). Some reviewers have further identified the similarity of the issues in the movie and problems affecting the contemporary society. Michael Foucault, for example, analyzed social regulation in prisons and identified the use of constant surveillance, which resembles the uninterrupted and collective monitoring portrayed in THX-1138 (Glettler 5). Obviously, THX-1138 draws most of its ideas from Aldous Huxley’s movie Brave New World and George Orwell’s film 1984.
Nevertheless, the presentation and details of THX-1138 marks the film as a dreadful prediction. While the social system in THX-1138 lacks a controlling entity except preprogrammed patterns or collective consciousness, 1984 has an entity called ‘big brother’ that watches over society (Glettler 5). In Brave New World, genetic procreation and drugs are used to control people’s lives whereas needless consumerism drives the entire society. Moreover, the society uses sex and drugs to provide its subjects with pressure. Likewise, Philip Dick described scenarios in Do Androids Dream of Electric Sheep? that required citizens to remain calm and adopt consumerist tendencies (Glettler 6). Hence, THX-1138 emerges as a previous works’ amalgamation in various ways. Nonetheless, the captivating impact linked to THX-1138 is not centered on its narrative story. Instead, it is based on the movie’s fascinating audiovisual context. Concurrently, it appears that the film parallels the common fear of abandoning one’s individuality and accepting to be controlled by technology. In his famous manifesto, Theodore Kaczynski discussed topics such as surrogate projects and power process, as well as the role of technology in establishing a social force stronger than freedom (Glettler 6). Kaczynski’s concept of power process describes people as requiring an attainable goal “to work for in order to be fulfilled” (Glettler 6). In the absence of the desire to engage in work as a means of survival, people need surrogate activities that are designed to benefit the society. As such, Kaczynski concluded that technology prevents a society from defining itself, in addition to taking away the people’s ability to regulate their individual power process (Glettler 6). A similar scenario is evident in the THX-1138 movie where characters give up their personal freedoms to a technological society and every person ceases to function as an individual. Although Kaczynski derived his conclusion solely from personal reasoning and published his manifesto nearly 25 years after the release of THX-1138, his viewpoints are appallingly illustrated in the THX-1138 movie (Glettler 6).
Racism
The problem of racism in THX-1138 is highly blatant. For instance, the movie’s entire course features only four blacks whereas uniformed white characters are numerous. It seems that George Lucas employed the race issue as a cinematic tool, as well as criticism of filmmakers who segregate their casting (Glettler 6). In THX-1138, holograms are portrayed as black people, which is a strategy to delineate character types using race. For example, hologram SRT in the film is presented as ignorant and incapable of learning. All the same, the holograms are similar to other characters in many ways, especially in their ability to live and breathe without support equipment. Consequently, Mike O’Neal speculated that holograms in the movie are ordinary people programmed to believe they are mere holograms (Glettler 6). As such, they are segregated and controlled along with other people and made to think they are unreal.
Conclusion
George Lucas’ film THX-1138 can be described as a dystopian movie revolving around two major issues: an extremely controlled underground metropolis and the desire of THX to disassociate himself from domination. The film’s symbolism drives the narrative that everything is white. As such, Lucas depicts the clandestine city as sterile, white, and pristine. The symbol is repeated throughout the movie to create the film’s overall mood. Glettler observed that THX-1138 provides a very frightening and surreal examination of a probable future where people everywhere are controlled by technology or unseen forces (6). Through passivity and indifference, the society portrayed in the film grooms itself to form a single conforming mass derived from a multitude of individuals. Furthermore, Lucas employs a unique and interesting approach to present a highly classic dispute between the individual and the society (Glettler 6). Thus, the movie is recommended for anyone with a keen interest in society and technology. Similarly, Nonis commented that the film is worth watching. Although some critics have pointed out that THX-1138 fails to raise exceptional or new issues, many reviewers have expressed a positive overall view of the movie.
Works Cited
“George Lucas Biography.” Achievement.org. American Academy of Achievement, 7 Dec. 2015. Web. 2 Aug. 2016.
“The History of Film: The 1970s, The Last Golden Age of American Cinema (the American ‘New Wave’) and the Advent of the Blockbuster Film.” Filmsite.org. American Movie Classics Company, 2016. Web. 2 Aug. 2016.
Glettler, James. “THX-1138: A Lost Film, Plot Summary and Discussion by James Glettler.” Mit.edu. Massachusetts Institute of Technology, n. d. Web. 2 Aug. 2016.
Nonis, Jake. “THX-1138 (1971).” Wsu.edu. Washington State University, n. d. Web. 2 Aug. 2016.
