Terminator (The Terminator) USA 1984
Director: James Cameron Screenplay: James Cameron, Gale Ann Hurd, William Wisher, Harlan Ellison, Cinematographer: Adam Greenberg Music: Brad Fiedel, editor: Mark Goldblatt
Starring: Arnold Schwarzenegger (The Terminator), Linda Hamilton (Sarah Connor), Michale Biehn (Kyle Reese), Paul Winfield (Lieutenant Ed Traxler), Lance Henriksen (Detective Hal Vukovich)
Synopsis : Out of nowhere see two people in the LA of the eighties: Both come from a distant apocalyptic future where machines have enslaved the people, and are looking for a woman. One of them is a machine sent to kill the woman, the other is a soldier of humanity, sent to save them from the machine. For the woman, a mousy waitress named Sarah Connor, will one day bring the man to the world, will lead the human resistance against the machines ...
radio Hundd : While the influence of eighties classics like Rambo in today's cinema is not quite so present and palpable, it can be the effect of Cameron's first major feature film on the popular Cinema in general and the dark science fiction film in particular hardly deny. The fascinating thing TERMINATOR is not only his film historical importance: Although he is clearly a product of his time, he is also still quite suddenly to the audience. He succeeds with a trick, who missed even Carpenter's Escape from such a brilliant start: A premise of epic proportions - the decision on nothing less than the survival of humanity - is via text display on a single night, and subsequently then a frame compressed three protagonists. Terminator seems at first to represent an exception within its genre. For while other Action films in the course of their more spectacular action and a "broad" are moves to Cameron's film together formally. Basically, he touched it but at the core of action cinema, which is in the midst of the superficial spectacle usually considered to reduce - instead of Americans and Russians, Rambo and Zay fight against each representative. In this respect TERMINATOR is probably just very consistent, in its intimacy, he takes on almost a venue also trains and employs a structure that could be described as a "film noir with the opposite sign. It is the ingenious combination of the noir elements of time travel theme, with Cameron succeeds to touch the deep truth of the action genre and him - ironically, despite his fixation technique, but TERMINATOR lives of its paradoxes - a piece of the return in the eighties buried humanity. In the film noir the protagonists are haunted by the shadows of the past, reaching up to the present. 
In Terminator, it's the other way around: There throw back a shadow future events through time. The oppressive atmosphere of Cameron's film is due to the well: The fate of humanity is sealed at the beginning of the film, everything that Sarah and Reese can still do to them is the fate of (= The future) to fulfill its intended roles. This is a radical turn in the other action movie hero Genesis. For while all the Rambos and Braddock are fueled by a traumatic charged past, they often unintentionally makes what they are, Sarah Connor designed to predict the future and that with full awareness: she knows what she needs, so is it. This is basically a very eighties-typical pessimistic interpretation of the teachings of existentialism. And drive to the already mentioned paradoxical principle from which the film takes its voltage to the tip, one can reverse the film read as a true noir by Schwarzenegger as a machine woman the real protagonists understand: He is the Private Eye, the problems with getting past. He also has this ideal typical noir scene in the filthy hotel room, come shining through the blinds, the neon lights of LA at night, and in which he then performs the famous operation. The combination of these two against each other and running lines, the interweaving of past, present and future, secure in TERMINATOR from the deep structure of the action film, brought to the surface and openly discussed. 
The Outsider: The concentration of a city as a hermetically sealed-off room and one night as a time unit, the search for a woman and her past have not done as well as the Triad, Sarah Connor, Kyle Reese and Terminator, which, despite their closeness has an impact on the entire world order seems to really connect to the film noir produce. The term tech noir - the name of a discotheque in the film - makes this not only obvious but has to technical term for a link between both film noir and science fiction, as established in cyberpunk. Cameron himself is said to have invented the term, as he has hit upon a concept that brings the new, darker style of the decade expressed. And even if TERMINATOR plays not only in a single night, it seems like one. The two days that lie between the nights are barely brighter than a sunset shot and the smog of Los Angeles. The reference to the night and its importance can already see the beginning, when the Terminator in Los Angeles lands of 1984. Gives us the film in the prologue a glimpse into an apocalyptic and destructive future, enslave the machines, the world sees and hears the audience after the opening credits for a brief moment, again a heavy machine, but it is just a car for the urban waste collection, which appears similar monstrous and already the shadows as an omen the future casts. The tautological-reciprocal effect which is then read already on the build of Schwarzenegger's. The time travel concept and its paradoxical (in) are not limited to disentangle the story of the conception of the man who will save humanity, limited, but is already a step that the machines had to go before. Once created as an artificial intelligence of people, they saw them when they began themselves to program as a threat and disposal capability. Well, where is it the people in the future under the leadership of John Connors managed to compromise the machines seriously, they must themselves construct infiltration units to the people again similar. After man could at last fulfill his Prometheustraum and has thus brought to the brink of extinction, these novel inorganic beings back to a biological level, to become
not themselves destroyed. A / Terminator looks so then from the way the cold, steely machine to imagine the perfect "man": a bundle of muscle with an angular appearance, with the strength of a tank and a microprocessor-based brain. FH: One of many interesting aspects of the film, for here comes the self-reflexive approach of Cameron's movie to carry. Most clearly comes to light that maybe in the Abyss, in which it indeed is not just about the encounter of people with a higher, extraterrestrial intelligence, but also the effect of the audience with a new technology. TERMINATOR is indeed in terms of its effects, now somewhat antiquated, but that's why no less urgently, his relation to the by Cameron himself a few years later established computer effects "imperfect" design lets him today may actually be more alive than the completely in the computer generated films, which only rarely reach the plasticity of a Terminator. The symbiosis of man and machine is the special effects, a mixture of animatronics (Every kind of puppet animation) and stop-motion animation, perfectly implemented. The Terminator becomes the grotesque Klotz, both in the scenes where he by Schwarzenegger, whose inflated body has achieved something Machine (see also our comments on RAMBO II - THE ORDER), is almost ideally stands, and where he of mechanical stand-ins "gedoublet" is. Especially in these supposedly obsolete effect is so perfect, which deformations are expected when machine intelligence tries to mimic the biological life. But this criticism is addressed in Cameron's film, of course, also against the people: their hubris has driven the world so only the abyss. The Machines have only learned from the people.
A: ... and then started to program "A completely new intelligence," as Kyle concede with a mixture of awe and disgust must. Interesting during the course of history is the absolute hopelessness of the situation. The apocalypse is coming, which is sealed. The old myth that it is a man is hostile to technology that can not control this is well known. The history gives something very definitive. Within the tautological circle is already arranged everything and can not be broken. It no longer comes to the turning away the Apocalypse, but their mastery. And throw as big events a shadow, to be planted must be performed within the closed circle of time the history of the seeds from the future into the past because the people present (in this case of 1984) are no longer able to to read the signs. Together they dance to punk and New Wave in the fall. The first thing that meets the Terminator, he roams through the night LA, are a couple of punks. Are 
due to its naked form visibly amused and want to first make a small joke by him into stick a switchblade. These figures, in their fashion and their behavior wear the insignia of destruction with him, although really suitable precursor for what will come only trend puppets. They are so blind that they do not realize how close the times of their own so much publicized 'no future' slogan in the person standing before them. Similarly, the blind society or the system. Brilliant, if Cameron can make the complex machine on the complex system of a metropolis. When the Terminator is after arriving on a viewing platform and look down on the night LA to face the times and systems for a brief, quiet moment. The already ailing city unfolds before him, is vulnerable and the Terminator, who has never seen such a thing, inspected them. If we did not think he has no feelings, you might think he is confused for a moment for him because of the strange panorama. 
FH: The significance of the clash of Terminator and punks have you worked out very nicely. Yes, can save humanity in the Terminator not even because she is blind and deaf to their environment-also depicts some of the Walkman constantly supporting Sarah's friend - and it can only have the conditions for life are created, but then no longer is in their hands. There will be no Messiah, to lead us to the Promised Land: Sarah has this Messiah only testify together with Reese, in the knowledge that he can align in the present, nothing will. The feeling of hopelessness that you're describing is, in a scene that are, or appear initially as a writer cliché: It refers to the sex scene between Sarah and Reese, which forms but actually the emotional core of the film and literally in the TERMINATOR its dramatic climax place. The undeniable romance of the situation - a man travels through time to the woman he loves, without knowing them, to witness the child who is the only hope of humanity - is countered by Cameron, by making it a matter of fate and determination in narrowest sense of the word makes. Sarah and Reese together, because they know that they imposed on the history of this relationship. In their union meet future and present together inextricably. Their touch, their connection is so strong that it bends the timelines. 
A: Yes, here it is a very system-theoretical arrangement of figures and their self-perception. Cameron manages to make completely believable that Sarah and Kyle are are not aware of. Follow the crucial moment actually her drive and her love. Kyle went to Sarah by the fire of the light which cuts open the space-time continuum and compares this with a new birth. And just Kyle Reese then this affects his behavior so innocent because he is completely pure. When Sarah is then asked how the "girls in his time that way," he deviates only. When he talks about his childhood, there is only darkness, despair, destruction. Reproduction was the people not allowed because they were classified only as a working material for the removal of corpses. Sex plays in this world for people not matter, but only the perseverance. Cameron coupled to the naked will to survive here for the first time in his martial philosophy him TERMINATOR and ALIENS - THE RETURN has been acting so much anger on the part of criticism. In his Idea man must be ready to become a warrior and there is absolutely no sex differences. The 
girl tells Kyle to answer Sarah's question, are good fighters. Survive, in the dirt to cope, adapt, quickly explore the surroundings, make enemies and to produce the simplest means of weapons: All of it is for Cameron in the first place if humanity is to continue to exist. Kyle is therefore the perfect warrior for the purposes Cameron and when he has managed to defy all the perils of this bleak future, and is even willing to travel back through time and all he knew to give to "the Mother of the future "to save, then he is probably really because the best genetic material to the" savior of mankind to witness. " When Sarah Connor is not as readily identify. For them, the skills with which they will be able to prepare herself and her son, in their complex social system useless. As ADHD children favored initially by the evolution of their aggressiveness, hyperactivity, and cognitive-reductionist thinking were, and they just these qualities in our society of disciplined learning in the way, so is Sarah Connor dreamy slightly, aimlessly drifting woman in a frustrating job as a waitress in a fast food restaurant, without a firm commitment to a man without job. Their only reference point is her mother. Every male is Excludes. Reese also they may fertilize only briefly and then dies. Sarah is with her female primal force, created solely for this purpose, the bear, of course, male rescuers who raise and prepare him. It is a masterpiece, as it succeeds Cameron to make both levels plausible. Through his narrative circular reasoning, the characters and events arranged just have to happen and fateful for the parties and at the same time we believe that it has combined the love of Sarah and Kyle. 
FH : I can add very little. I'm just not sure if I agree with you is that Reese and Sarah about the consequences of their actions - are not aware - that their act. At least Cameron turns on this crystal clear out of his icy production for the audience: we see that the fact of love in this moment is really secondary. That's also not right somehow tangible perversity of this and other Cameron movies. The recognition and literal embrace of loss are styled as an almost aesthetic act of fatalism is commemorated with an icy expression. End of the world predisposes the coming of the Messiah (the Initials of Sarah's future son are obvious: "JC"), commencing in the face of loss can occur the sacred. The character of disposition of the two protagonists, you brought perfectly to the point, prevents the act not for affirmative Tearjerker degenerates. Both figures are essentially destined to be unhappy: their carnal connection is also their death as individuals. You are now history, whose interests they have to meet. We know that from this point can only go downhill - a line of dialogue from ALIENS - THE RETURN describes it perfectly: Cameron "We're in to express elevator to hell, going down!" exploits the writer convention of the sex scene, which is always dramatic pause, caesura, is a brilliant way: Here, both figures, the first and only opportunity to stop before nothing will be as it was. Nevertheless, one can understand the critics in a way that would have seen fascist ideology. The Stoic fatalism of his protagonists, the monolithic character of the whole film, hinwegwalzt a chain with the power of a futuristic vehicle and crushed our skulls, is nothing that warms the heart: TERMINATOR is icy and ruthlessly. Nevertheless, the critics 
overlooked that in Cameron's film the Archimedean Point is not, from which it can fall or retaliation justified. From the circle there is no Aubsruch. The Cameron makes explicit in T2, Sarah Connor in the mutated into a bitter, hateful monster is, the teaching of a machine from scratch, which means humanity in the core. A: In the noisy brutality of the formal shell may be lost on the idea that love is the central point for Kyle and Sarah's, but when Sarah is in the final scene with her unborn son, it is most important to him assure that they are, even if they only had this one moment, loved like a lifetime. The Terminator has it and the audience a view of Cameron's vision for the future given. His rampage in a police station caused the largest mobilization California police forces in the history of the state. No wonder, the complete annihilation of this bastion of the rule of law even the first baby step on the Apocalypse. To understand the police that they would not get at the terminator by conventional means, can he have been able to blow up a nuclear power plant. If they have a fight cell in such a regulated system already swirling mess can, as it looks to the future? The final scene of the film takes the nuclear winter that represents only the first stage, thus symbolically anticipated. We know what is coming. We can stop it does not.
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