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Stephen Faulkner shares moments of his life, examinations of film, and personal interests.
Monday, July 30, 2007
A.I. Artificial Intellegence: An Analysis
First off let me just acknowledge that I understand how random this post seems, however I need to get this written down before I forget my thoughts. There are also several spoilers mentioned.

The film A.I. Artificial Intelligence is nothing new to me. Since the film's debut on DVD in 2001, I have had a strange fascination with it. A.I. is based on a very short story by UK science-fiction writer Brian Aldiss, 'Super-Toys Last All Summer Long'.

The film is very dark, despite it's appearance of being a story about a little robot boy who travels the world with his super-toy "Teddy". On the contrary, the world we see in the film is our chaotic fictional future. The ice-caps have melted, and half of the world now sits underwater. Technology has advanced so far, that "mechas", or robots now fulfill the tasks which humans once did. So much in fact that the fictional Professor Allen Hobby proposes to build a robot child who can be a replacement for grieving parents who have lost children pre-maturely. This leads to the creation of David, the most realistic mecha to date; not only is he physically realistic, but also emotionally.


One thing to note is that Steven Spielberg in many ways directed this film as an homage to Stanley Kubrick, who developed the idea for the film, but passed away before it was ever made. The actual film is shot beautifully. Spielberg worked once again with Janusz Kaminski, who did the cinematography for Minority Report and Saving Private Ryan.

Kaminski is notorious for using smoke to create absolutely beautiful shots. They really do stand out. So much in fact that you can, at times, see the smoke pour into the picture just a bit too much. Perhaps it is a necessary sacrifice.


For me, watching A.I. multiple times has revealed several visual motifs which Spielberg uses. He creates symbolism even in the manner which each shot is set-up These can be moving and revealing. They can also allow for the viewer to connect with the film on an even deeper level.

When David is first brought into his family, in many ways he is still an innocent robot. He is still learning, and still loving. The following shot symbolizes David's innocence. The light fixture, I feel, represents a "halo" of innocence.


Yet as the film progresses, and through tragic events, David is "released" by his mother. The fact that David's mother no longer wants him, is at first horrifying, but leads to his adventure of becoming a "real boy", because perhaps this would compel his mother to "truly love him".

In many ways A.I. is a futuristic Pinocchio, and this longing of love which David feels leads to my next point. I believe that the film's ultimate message is that what is necessary for avoiding chaos, is love.

In the futuristic world of A.I., we hear of thousands of "lover-models" being shipped every month. These "gigolo" robots are sexual beings. Likewise, we see the other side of the coin when a woman, contemplates using one of these robots for pleasure. We even learn that she has received "the wounds of passion" as the camera pans to reveal bruises up and down her arm; results of an abusive relationship.


Had this woman, and many others like her been in a loving marriage, would there even be a need for these "mecha-lovers"? If the woman's husband hadn't given her these bruises, but rather shown her complete love, would there even be a desire for this "sexual distraction"?

This leads to the situation of David. His role is not sexual, but rather for families who have had no control over their life's circumstances. David's role as a loving child, eventually turns into a test for the parents. As one of the film's opening engineer's states: "can you get a human to truly love a robot"? Looking past David's non-humanness, and focusing back on the parents, we can ask the same question of real parents, with real children: what responsibility does a parent have for loving their children. This is a no-brainer, but the film of A.I., I feel, reveals a future of what could come about if people fail to live up to their role of expressing love.

David's strive for love, makes him angry, jealous, and evil. Even to the point where he kills a fellow "child-replacement robot". This leads us back to Spielberg's visual motif. After destroying his "brother", the light fixture now reveals David's broken innocence.


At this point of the film, David has given up. Circumstances lead him to become trapped at the bottom of the ocean where New York city once stood. There he lies for 2,000 years, until all of humanity is but a memory. We are introduced to the "Beings". Whether they are gods, A.I., or aliens is up to the viewer, yet they hold the power to read David's memories, and thus understand all which David has been through.


Once the "Beings" realize David's longing of love from Monica, his mother, their leader decides to "give him what he wants". Let's ask ourselves again, what does David truly want? On the outside, he pleads to be able to see her for just one more day (which the "Beings" apparently have the power to do; more on this in a bit), but on a deeper level, what David truly wants is to receive love from Monica. David's return home is beautifully shot, with high contrast which produces images such as this:


Now whether the film's final moments are the true result of the "Beings" resurrecting Monica, or rather a vision they implant within David's mind, the happenings between Monica and David are touching. David is only given one final day with her, but enjoys all which he has been looking forward to.


As he leads her to bed, knowing he will never speak to her again, he tucks her in, and Monica speaks, saying: "I love you. I really do love you". David's face reveals complete happiness and the ultimate satisfaction. He has finally received all which he was truly longing for: love.


It also seems that David has completed his quest for becoming a real boy. After Monica falls into eternal sleep, David also shuts down, leaving an empty house and his super-toy "Teddy" to keep watch for ever and ever.


Spielberg has stated himself that one idea within his film is this: "to be real is to be mortal; to be human is to love, to dream and to perish". In many ways David has achieved all of these, and has in turn become "human".

As I think about this film, I ask myself: how different would things have been had everyone who longed for love, actually received it? Many things would be different. This is what I believe Spielberg is trying to convey in his film; a little love goes a long way. And he has done so for me, both visually in his film, and emotionally through the fictional story and characters.

*Just a note: I have many more ideas and comments concerning this film. Given my fatigue and lack of time, I am unable to contribute those at this time.
at 8:53 PM
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Stephen Faulkner
I'm a quiet guy with a lot of interests. I love the Lord and want to serve him in my life with humility and kindness to others. I can be shy, but will eventually break out of my shell. I try to work hard in school, and juggle my time between studying, being with friends, gaming, reading, and seeing films. For the first two months of summer 2008, I will be serving in Karuizawa, Japan.

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