THX 1138 (1971) : Movie Review

*The following review was originally published on Dec. 18th 2010 as a Facebook Note.

THX 1138

 

George Lucas is part of the generation of filmmakers that emerged in the early70's (known in the industry as the "Movie Brats"), which included such directors as Steven Speilberg, Martin Scorsese, Francis Ford Coppola, and Brian Depalma. It was at this time that the film industry started to take a new direction here in the States, where darker stories were told, deeper questions were asked, and more dynamic techniques were utilized to create innovative visual art.

Being a HUGE fan of Lucas myself, I naturally wanted to see the movie that first put him in theaters, especially after hearing about its bizarre style, and seeing the concept briefly play out in his similarly titled student film made it even more appealing.

  THX 1138 is a study of a dysutopian world in the distant future, much in the tradition of Orwell's 1984 (no, haven't read), where life is dictated by numerical systems (names are coded numbers and letters), mandatory sedation, and limited interaction with other human beings. The latter is best represented in a recurring gag in which characters talk to automated machines in the place of professional doctors and priests ("What's wrong?.....What's wrong?.....I see.....Yes......"). The story focuses on the titular THX (Robert Duvall), who begins to stop taking the sedatives assigned to him. As a result, he experiences an unusual amount of stress, at some points becoming ill, and begins to have slight mishaps at his job (he helps construct the sentries that make up the world's security). Gradually, we see more side-effects take place: he starts questioning the agenda of society, or perhaps whether they have one to begin with. His sexual and emotional feelings for his mate, LUH (Maggie McOmie), begin to intensify.
 In a nutshell, he is becoming more human, a threat that must be contained. Eventually, THX's behaviour is reported, and so begins a unique escape from a much-too-flawless world.  From the opening, I knew that this film was going to be different; before the opening credits even start, we are treated to a teaser for an episode of the legendary matinee serial Flash Gordon. This is done,perhaps, to show the often glorified mentality of the future, where technoligical advancements will change mankind for the better. The credits themselves, however move in a downward scroll of bold, green letters, all to creepy atmospheric sounds (i'm hesitant to call it music). Such a contrast shows Lucas' early innovation as a filmmaker, and sets the bleak tone for the rest of the picture.

Duvall fights the man, man.

  The visual qualities of the movie are very unique, and I believe it will divide those who watch it. Nearly every scene is dominated by sterile, white sets and costumes. A particular scene in the middle takes place in what seems like miles of flat, white emptiness. Additionally, there are many scenes that may be off-putting: scenes pertaining to sex are simplified to a point where it may seem awkward to those unfamiliar with this kind of filmmaking; plot points are interlaced with montages of computer equipment and mechanical jargon from the security staff; and extensive sequences of dialogue can tend to drag. This in mind, some will undoubtedly find the movie bland and unappealing to the eye (especially in the wake of big-budget spectacles like Inception or The Matrix).

Lucas in action. The hair and specs scream avant garde.

For movie nerds such as myself, this is the stuff we thrive on. The fact that they managed to make the cinematography so dynamic and interesting with so little color variety is a wonder in itself. Lucas, who also did the editing, clearly knew how to shoot such a story in a way that reflected its theme of over-controlled societies. He intentionally makes the scientific aspects of the film overshadow the emotional potential of the characters, which emphasizes how this world is so protocol-oriented that human feeling is becoming obsolete.  I will some up the effectiveness of the atmoshpere and dialogue in saying that, after watching the film, I was briefly afraid of numbers.    

 THX 1138 is many things. It is a novelty for being a director's first feature. It is a unique commentary of dysutopian science fiction and drama. It qualifies as art house cinema in its visual asthetics. Most of all, however, it laid the groundwork for an industry giant, for it would be but six years before Lucas crafted perhaps the most celebrated (and profitable) franchise of all time. Said franchise is quite another story...

The film's climactic chase was but a taste of dystopian escapism (further reading: Blade Runner, Logan's Run)

The director's cut of THX 1138 is available in a 2-disc collector's set...