This movie may have been my most anticipated movie of my childhood, or at least the most anticipated non-Star Trek movie. Robin Williams, playing a robot, in a movie based on a story by one of my father’s favorite sci-fi authors? Sign me up! I don’t remember being disappointed not to see it in the theater, but I’m sure I was anxiously awaiting the chance to order it from the library when it came out on video.
In the very near future, Richard Martin introduces his family to his newest labor-saving purchase, NorthAm Robotics’ NDR-114: a humanoid robot with a positronic brain whose purpose is to serve the family around the house, named “Andrew”. After snotty older daughter Grace orders Andrew to throw himself out a window, Richard makes the decree that although Andrew is not a person, he is to be treated with the same respect one would give a person. After breaking younger daughter Amanda’s favorite glass horse sculpture, Andrew takes it upon himself to carve a replacement from wood, and quickly begins to display unique characteristics that Richard decides to encourage, mentoring him, giving him access to all the books he could want, and, at Amanda’s suggestion, providing Andrew with his own bank account for the money he earns from making clocks. As years pass, Andrew eventually asks for his own freedom, which Richard bitterly grants, stung at the assertion he hasn’t given Andrew enough. Soon, Andrew begins to feel lonely, and goes on a 20-year journey looking up every other NDR unit hoping to find others like him. The search leads him to cyberneticist Rupert Burns, a tinkerer obsessed with making more lifelike androids, sending Andrew on a new course to remake himself as a member of human society.
It occurs to me that I have a fondness for the dated charm of late 90s/early 00s sci-fi, especially the optimistic stories. Real world technology was already reshaping the world, but there was a radical readjustment to the kinds of futures we were imagining after the mainstreaming of mobile computing, the social internet, and all-knowing algorithms. Even the dystopias can seem a bit naive now, especially considering the social mindset that our culture was in between the end of the cold war and the beginning of the global war on terror. I especially appreciate how this movie isn’t really afraid to make the near future implausibly near. Most other stories would set the technology required to make robots like the NDR at least 20 years out, but this movie makes it explicit that Andrew was first activated in 2005, which was only six years in the future from the release date.
While I appreciated the civil rights concept in the abstract, Andrew is sapient and should be respected as any other sapient being, I didn’t really appreciate the story of the slow path to acceptance and justice before. It takes Andrew generations to be fully granted the rights he deserves. He needs four generations of allies to wield their privilege on his behalf to even have a chance of going from the othered, lesser role he was intended to be becoming a fully recognized member of society, and he couldn’t even imagine himself taking such a place and standing up for himself without multiple people telling him he deserved it. I also saw allegorical resonance in how even those allies varied in their acceptance of Andrew’s true nature. Richard, who saw Andrew’s nascent personhood and encouraged and defended it with everything he had, couldn’t imagine the necessity of such a person to have true autonomy. Amanda’s son Lloyd, who rejects Martin’s personhood but helps him for his own selfish interests. And Amanda’s granddaughter Portia, who can accept Andrew’s personhood but for a long time hesitates at recognizing the humanity of his full self. The “a tree will always be a tree” conversation never stood out to me before I had an understanding of the real world struggle of people who are having similar arguments with their loved ones every day, some of whom are even making radical body modifications of their own to make the outside match the inside while fighting for the government to recognize their truth and grant them their dignity.
The tone is always a surprise. I carry with me the light-hearted romp that the trailer promised, emphasizing the jokes and the feel-good and omitting the somber, inexorable march through the lived experience of learning what it is to be human, the highs and the lows, the love, but mostly the parade of heartbreak and disappointment along the way. It’s not overall a sad movie, but it’s almost constantly introspective, contemplative, and pensive, mostly ruminating on loneliness and loss along the road of self-discovery. It’s a bit exhausting, but yet I love it. There’s almost enough levity sprinkled in to keep it from getting too overbearing, it’s never too depressing, and it’s irrepressibly hopeful, tracing a path of only positive progress, the setbacks mostly in losing relationships and never permanent. There are few movies of the recent decades that better capture the wonder and potential portrayed in early 20th-century science fiction. If it feels off, it’s because it’s a spoiled era’s reflection of an inspiringly, if naively, hopeful one.