Back in 1982 this movie must have seemed like
a long shot. But Disney's animation had fallen on hard times, and the company was trying all kinds of unique stuff to get their name back in the theaters. Not
all of it worked (Watcher in the Woods I'm looking at you). For some folks the animation and films from this period
in the company’s era are a dark mark. But in so many ways Tron was ahead of its time, and yet it was timeless.
Summary:
Kevin Flynn (Jeff Bridges)
has a score to setting with SVP of Encom corporation Ed Dililnger (David
Warner). Dilinger stole some of Flynn’s innovative video games and passed them
off as his own. Flynn left the company in a rage, but has been trying to hack
into Encom’s system to find proof of the theft ever since. Unfortunately,
Dillinger’s new Master Control Program (MCP) is blocking him at every turn. So
Flynn enlists the help of fellow programmers Lora (Cindy Morgan) and Alan
(Bruse Boxleitner). But before you think this is going to be about corporate
espionage, things get wild.
The MCP isn’t going to take
any of Flynn’s shenanigans and uses a laser to suck Flynn into the computer (it
was the 1980s and lasers could do anything). Now Flynn finds himself in a
digital world where programs live their lives to serve their users. In this
world the MCP is a tyrannical despot that rules with an iron fist. His minion
Sark (also David Warner) captures trouble-making programs and makes them play
in video games, until they are destroyed. Flynn teams up with two programs Tron
(Boxleitner again) and Ram (Dan Shor) to escape from the game grid and contact
“Alan 1”. With a program upgrade Tron may
be able to shut down the MCP once and for all.
Good Points:
- An amazing visual look for the virtual world
- Uses the standard hero’s quest to make the concept more accessible
- An innovative and fitting score by Wendy Carlos
Bad Points:
- Takes forever and a day to really get rolling
- Over-explains the premise (for the less computer savvy folks of 1982)
- May be too silly in concept for some viewers.
Overall:
For me Tron is an amazing feat of creativity. It is a visual wonder,
especially considering it was made in 1982. It commits to its premise (no
matter how goofy it may see) and sells it completely with a complete world
created in visuals, sounds and music. The basic story is a hero quest, and yet
there is an overlay of spirituality at it’s core that adds another layer to the
film. It’s slow start with heavy exposition can be a chore to get through, and
the final stakes (stolen video game ideas?) may seem a bit petty, but all in
all it’s an impressive film that was way ahead of it’s time and is still
entertaining.
Scores
(out of 5)
Visuals: 5
Sound: 5
Acting: 3
Script: 3
Music: 4
Direction: 3
Entertainment: 4
Total: 4
In Depth Review
A image that could only come from the 1980s. |
Watching it now, I’m simultaneously
blown away by how ahead of its time it was, and how quaint it seems. This
movie predated all the hacker, virtual reality and “cyber” films of the late
1990s and early 2000s. It’s the first movie that I know of where the
heroes are nerdy cubicle drones. No other movie at the time embraced the Atari
video game revolution in quite the same way. So in that way it predates all
those video game films that flooded cinemas in the 1990s. And as
entrenched in technology as the film is, it deals with spirituality and freedom: including freedom from technology.
Revenge of the nerds, indeed! |
So I believe part of the
reason the film didn’t resonate with people is that it just didn’t seem to be
part of their lives. By the time The
Matrix rolled around, nearly everyone had a personal computer or video game
system of some kind, and the internet was becoming a fixture in public
consciousness. People were comfortable with idea of programs, hackers, discs
and system upgrades.
Atari meets Star Wars with a heavy dash of 80s neon and fluorescents. |
The other issue with the
film is that the basic story that occurs inside the computer is your typical
hero myth, the same on we’d seen done in Star
Wars, and that made the huge impact on genre storytelling. The band of heroes
fighting against a tyrannical rule was already a staple, and was feeling a bit
stale to some viewers. Added to this is the fact that Tron is a pretty straight
arrow character. He wants to do what is right, always chooses the best path and
is frankly a bit bland. He’s certainly a hero of the 1950s mold, square jawed,
and honest.
The deadly Recognizers swoop in for the kill. |
In that aspect Tron feels old fashioned, a criticism
thrown at the other sci-fi epic Disney attempted in the same era The Black Hole. But I think this was
done to directly counter the bizarre and unique world being created. It was an
attempt to give the audience something relatable beneath all the visual pop.
This same approach is what George Lucas achieved with Star Wars.
In the 1980s, if evil had a name it had to be David Warner. |
On top of this, Flynn is a
user transported to a computer world. Essentially, he’s a god among mortals. At
first he keeps this fact to himself, but begins to use his powers to manipulate
the world around him. It’s these powers that set him apart from his fellow
travelers. While Flynn doesn’t have a huge personal change in the film, we do
see him develop feelings for the programs. He tries to save and help them, not
just because it will help him in the long run, but because he sees them as real
people. He tries to give some comfort to a dying Ram midway through the film.
He accepts his role as a god like avatar and makes a sacred promise (of sorts)
to help Tron defeat the MCP.
Tron prepares to contact his "user" using a floppy... sorry identity disc. |
Flynn’s powers are the only
thing that set him apart from the other programs. His personality also makes him unique. Tron, Yori and Ram are
all single note characters, but that is because they are programs with one
function. They maybe put in different circumstances and deal with those
circumstances as best they can, but unlike their human counterparts, we don’t
see much variation in their responses to events. In fact some of the looks they
give Flynn reflect how odd they see him.
Flynn faces a difficult choice in the climax of the film. |
As a whole the acting in Tron works well. Bridges gets the
juiciest part, and seems to be having a blast In the role. Playing counter to
him is David Warner, the go to actor for villainous roles in the 1980s. Here he
provides three performances. He’s calculating and cold as Ed Dillinger. He’s
brutal and ruthless as Sark, the physical villain in the computer world who
does his best to kill Tron and his cohorts. Warner’s voice was also digitized
and used as the MCP. The phrase “End of Line” in the deep digital baritone
became an Internet meme nearly two decades later.
The light cycle race has become an iconic moment in 1980s film scenes. |
The costumes are creative,
but sometimes seem a bit silly. I love the glowing circuitry on the bodies, and
the guard characters look really cool in their faceless approach. But Sark’s
headdress seems a bit elaborate, and Dumont’s (Barnard Hughes) bishop inspired
hat is more phallic looking than anything else. His appearance always makes me
chuckle, even though I know that’s not what was intended. Then there’s the odd
ball programs Flynn runs into later in the film: very creative looking, but
incredibly silly all at the same time.
The Las Vegas of the Grid, Flynn is a stranger in a strange land. |
To match this are all the
sound effects for the world. This wasn’t just creating a digitized voice for
the MCP. It was creating and altering sounds for everything we see on the
screen. The only real guide was that this had to sound like it occurred in an
arcade game of the period. They nailed it, with the light cycles, tanks and
recognizers each making unique and creative sound effects. Sark’s massive ship
gets the appropriate rumble of course. But other things like the sounds of the
discs and even characters derezzing lends to the feel that this is it’s own
world, with it’s own rules. Even the characters footsteps sound different in
this world.
Traveling by Solar Sailer always looked cool! |
For me the only real
downsides are the direction and script. I know part of the difficulty in making
this film was ensuring the audience of 1982 would be able to follow it. The
results were mixed, some folks were still confused by the film, other found it
too slow going in the first third. These days it comes across a bit quaint and
clunky in places. But I think that all in all it works fairly well but could be
polished a bit more, made a bit tighter and it might be remembered fondly by
more folks.
I know nostalgia plays a big
part of why I love watching Tron. I
hadn’t seen it in many years, but when Tron:
Legacy came out on DVD they had a nice package with the original film. So I
watched it and was surprised by how well it held up and how distinctive and
complete the world they created for this film was. Many elements of visual
effects were pioneered in the late 70s and early 80s, and some of them didn’t
survive the computer graphics revolution of the 1990s. But Tron provides a glimpse of a fusion of both types of effects work
and how they can be used together to provide an amazing whole. This is
something Peter Jackson used to great effect in his Lord of the Rings trilogy, and obviously films like The Matrix and Ghost in the Shell were influenced more directly by Tron. So if you haven’t seen this film
in a few years, I recommend you give it another chance. I think you’ll be
surprised by how good it actually is.
I liked this too, and still do. The Virtual Reality theme in scifi has surprisingly deep roots. Try the 1935 story "Pygmalion's Spectacles" by Stanley Weinbaum in which characters don VR goggles and then interact with virtual people in virtual worlds that are more real than they expect. The B (maybe C- or D+) movie "Blood City" (1977) also has characters gaming in a computer-generated virtual world, though they don't know that's what they are doing. But "Tron" is definitely the first movie really to to do the job right. The effects were clever and still hold up -- and the story is good fun. The pacing of movies made before 1990 tends to be leisurely, true enough, but that's not such a bad thing -- and fewer of them lasted 3 hours.
ReplyDeleteI've never heard of either the story "Pybmalion's Spectacles" or the movie "Blood City". I'll have to check those out. I was doing some research on VR movies and the concept does go back further than I expected. I remembered all those movies of the 1990s, but obviously "Tron" is considered the grand-daddy of them all.
DeleteYou know, as a kid the pacing never bothered me. It was just all part of the story. It wasn't until I revisited the film in the late 1990s that it really seemed like a slog. But my wife said she tried to watch it when she was younger and found it very slow in the first 20 minutes or so. I think she was surprised she enjoyed it when we both revisted it a few years ago.
An always great write-up Roman.
ReplyDeleteHmmmm....
Believe it or not I have been resistent to the Tron franchise.
I played the game like crazy back in the day but never saw the film.
I suppose I need to rectify that.
It does look interesting.
Certainly worth checking out. You'll see some visuals that certainly had an impact on anime series that came afterwards. And the visual effects are very impressive when you realize that most of this stuff was probably shot and created as far back as 1981.
DeleteOne ought to note that Neuromancer was not intended to be literal, according to Gibson. It was intended to be impressionistic. Gibson has said that in his mind, it was always guys with keyboards and suchlike hardware. The sharks, etc, were intended to be metaphors for what was happening in the computer so that it would be understandable to the reader. Of course, his readers were computer nerds, took it literally, and here we are.
ReplyDeleteSimilarly, I can absoultely attest that early 80's computer nerds did see their programs as some variety of actual personalities inhabiting the world of the computer, but with less interaction than in Tron.
There was also an early 70's story in which everyone played MMOs. The main character was a girl who meets one of her fellow players, a homeless boy. She ends up giving him the item he needs to win enough money to be set for life. There's an awful lot of sci-fi out there that dealt with computers before they were practical, or even exists. Such as the story of the personal secretary that acts an awful lot like a cell phone. In that one, the secretaries get their own agenda, and no one notices, ebcause they all use their secretaries to send messages to each other, instead of actually interacting. Sound familiar?
Yeah it's amazing how far back virtual reality stories go. I always thought that the early 80s would be the limit, but I'm finding more and more television shows, short stories and novels that involve VR and computer worlds.
Delete