Spoiler warning: these reviews reveal plot twists.
A cyborg is sent back in time to 1984, intent on killing a woman called Sarah Connor. Her only hope is a man from the future with a secret…
* The star of the show is Linda Hamilton. She’d just made the horror film Children of the Corn, but The Terminator took her to a whole new level: one of a science-fiction icon. As the story begins her character, Sarah Connor, is an everyday young woman living an unambitious but happy-enough life in Los Angeles. A bright, likeable person who works as a waitress at a diner called Big Jeff’s, Sarah shares an apartment with her gregarious friend Ginger and – how’s this for an oddball detail? – a pet iguana. But her life is turned upside down when she realises that someone is murdering local women who share her name. The killer, a slow-moving but extremely powerful assassin displaying no emotion, then catches up with her and is about to pull the trigger… when another man saves her life and they go on the run together. The nervous and intense Kyle Reese tells her that he’s been sent back in time. His mission is to save her from a part-organic android called a Terminator, which wants to kill her before she can conceive her son – a son who will grow up to be an important military leader in a future war against self-aware machines. As you’ll appreciate, this is a lot of information for Sarah to take in. But when she later sees the relentlessly savage Terminator in action, she’s convinced by the outlandish story. She also starts to bond with kindly Kyle and they eventually sleep together… Sarah Connor is so much more than a stereotypical girl-in-danger. As the story develops we see her grow and learn. Bit by bit, she becomes more assertive and more confident, eventually taking the lead in her and Kyle’s attempt to evade the Terminator (‘On your feet, soldier! On your feet!’), yet we always recognise her as a human being with fears and doubts. Hamilton gives an absolutely terrific performance, selling every phase of her character’s journey, every shade of her personality. (The actress later married The Terminator’s writer/director, James Cameron.)
* Kyle Reese is a sombre and serious man in his 20s; his lack of humour is understandable given that he grew up in a 21st century ravaged by a guerrilla warfare with sentient machines. His mission is to protect Sarah from the Terminator, and he knew before he time-travelled that it was a one-way journey into the past. Suffering from nightmares and post-traumatic flinches, as well as physical scars from his war experiences, he seems singularly devoted to Sarah – and it’s only gradually that we realise why. In the future, Kyle was a colleague and friend of Sarah’s grown-up son, John. Through him he learnt about and fell in love with Sarah. By that time she had proved herself as a fearless leader in her own right as well as being the mother of humanity’s saviour, the Mary to John’s Jesus. Where Sarah is in this future – whether she’s died, for example, or is a 70-year-old elder stateswoman – is never explained, but Kyle hadn’t met her before he travelled to the 1980s. So rather than personal experience, his devotion developed through John’s stories and a single Polaroid of a young Sarah looking wistful. ‘I came through time for you, Sarah,’ he tells her as they grow close while on the run from the Terminator. They soon have sex in a motel room – it was the first sex scene your current blogger ever saw, aged about seven or eight – and the implication is clear: they’ve just conceived John… Playing Kyle is Michael Biehn, one of those actors whose career contains two or three very high points but a surprising amount of trash too. He gives classy, interesting and very effective performances in three successful films written and directed by James Cameron – The Terminator, Aliens and The Abyss.
* For the role of the T-800, the robotic killing machine from the future, Cameron wanted to cast someone who could blend into a crowd. He initially plumped for Lance Henriksen (who was later given a different role in the film) while ex-NFL player and future jailbird OJ Simpson was also considered. But when Arnold Schwarzenegger campaigned for the part, it made business sense to cast the Austrian. He’d just had a big hit with Conan the Barbarian and his star was on the rise… It did mean a rethink of the character, however: the Terminator would now be significantly more ostentatious and noticeable. His first scene sees him arriving in the 1980s, totally naked and looking carved and chiselled like a statue of a Greek god. He’s also often filmed from below and framed like he’s a giant, adding to the sense that this machine is an unstoppable force. (In reality, Arnie’s height has long been a bone of contention. He claims to be 6’2”, but some have said he’s actually under six feet and wears lifts in his shoes.) Even if the original idea of an assassin looking like an everyman makes more sense, in this film you can still see a pop-culture icon being created before your eyes: the looming walk, the steely gaze, the dispassionate intent, the monotone voice, the Teutonic accent, the dry humour (‘Fuck you, asshole’), the brutal violence. Famously, the character only has 16 lines of dialogue in the whole movie. Shakespeare’s Hamlet has 100 times as many – 1,569 of them – in *his* eponymous story. But which one looks better punching a car window in, eh?
* There’s the aforementioned Ginger (Bess Motta) and her sex-mad boyfriend, Matt (Ross Rossovich), who are both victims of the Terminator when he comes looking for Sarah.
* Early in the film, the T-800 encounters a street gang and kills two members before stealing the clothes of a third. One of them is played by the great, sadly late Bill Paxton who pops in his small role (‘I think this guy’s a couple of cans short of a six-pack’) and soon had an impressive CV that included James Cameron’s Aliens and Titanic among much else.
* The sequences involving the police focus on the fatherly and deadpan Lieutenant Ed Traxler (Paul Winfield) and his gleefully cynical sidekick, Sergeant Hal Vukovich (Lance Henriksen). When they arrest Kyle, he keeps blabbing about being from the future, so Traxler and Vukovich call in a criminal psychologist called Dr Silberman (Earl Boen) who doesn’t have much sympathy for Kyle’s fantastical story.
* Although not a hugely important character, I mention Sarah’s co-worker Nancy (Shawn Schepps) because she has one of my favourite lines of dialogue in cinema history. Early in the story, during a busy shift at the diner, Sarah is dealing with customers who are complaining about her getting their orders wrong. Then a cheeky kid deliberately plops a dollop of ice cream into her pocket. Sarah sighs with quiet frustration. Nancy breezes over and says: ‘Look at it this way: in a hundred years, who’s gonna care?’ I say that mantra to myself after every one of life’s frustrations.
Where: Most of the film is set in and around Los Angeles. In a coda scene, Sarah is seemingly in Mexico. The Terminator’s LA is a grimy, crime-y city. We see suburbia briefly but there’s little glamour or glitz or showbiz here; instead it’s a place of rundown streets, gangs, hobos, cynical cops, punky nightclubs, flophouses and construction sites. It’s also often dark and threatening: around 90 per cent of this movie is set at night. One location with a surprising legacy is a nightclub called Tech Noir (entry fee: $4.50). Spooked by news stories of other Sarah Connors being murdered, and sensing that a strange man is following her (it turns out to be Kyle), our Sarah ducks inside a club to use its phone. This is where the Terminator first catches up with her, and where Kyle first intercedes (‘Come with me if you want to live,’ he says, coining a franchise catchphrase). So Tech Noir is very important to the story. It also had an effect outside the fiction. The Terminator is part of a sub-genre of movies that blend science-fiction ideas with film-noir stylistics – Blade Runner is its key text – and the nightclub gave the concept a name.
When: The bulk of the story takes place over about 54 hours. According to a line of dialogue, we start in the early hours of Thursday 12 May and events progress until daylight on Saturday morning. It’s usually assumed that the film is set in 1984, the year it was released, but 12 May 1984 was a Saturday. The date works if it’s 1983. (Having said all that, at one point we catch sight of Sarah’s timecard when she clocks in at work – and that’s for a pay period that will end on 19 May 1984. Time-travel stories, eh?) Kyle also experiences a series of flashbacks to his earlier life in the year 2029, and there’s a coda scene set several months after the defeat of the Terminator.
I’ll be back: After about 57 minutes of the film, Sarah and Kyle are at a police station. The latter is under arrest, while the former is being cared for by officers who think she was Kyle’s hostage. In a neat piece of writing, Lt Traxler tells Sarah not to fret: ‘We got 30 cops in this building,’ he says, implying she’s completely safe. The Terminator then storms the station and dispassionately kills every single police officer in his attempt to find her… The moment when he gains entry is where Arnold Schwarzenegger’s most infamous catchphrase was born. Walking into the quiet reception area, the T-800 asks to see Sarah Connor. A bored and distracted desk clerk tells him to return in the morning. The Terminator surveys the wooden-and-glass barrier that protects the station’s innards, then leans in and says, ‘I’ll be back.’ A few moments later he does so: in a high-speed car, that crashes through and destroys the station’s lobby… It wasn’t written as an arch piece of ‘movie dialogue’ – James Cameron was going for underplayed irony that would only ping on repeat viewings – but the phrase ‘I’ll be back’ quickly took on a life of its own. It’s been reprised in all the Terminator sequels, as well as several other Schwarzenegger movies.
Review: The idea for The Terminator came to James Cameron in a fever dream while he lay ill in an Italian hotel bedroom (‘It was this chrome skeleton emerging phoenix-like out of the fire’) and that nightmarish quality purveys throughout the movie. There’s a bleak, edgy, violent tone, almost like a Halloween-style slasher film. The incidental music is percussive and unsettling – all harsh clangs, eerie drones and mournful electro washes – rather than a Hollywood score of reassuring lushness. And Cameron’s masterful control of pace and point of view creates tension right from the word go: we feel like we’re experiencing events along with Sarah and Kyle, rather than being objective viewers. The story is simple. It’s a chase movie with the good guys evading the bad. But for various reasons, we’re gripped and intrigued throughout. One is that the sharp script centres on extreme situations, and has no interest in anything that doesn’t help tell the story. Another is that the characters feel like they have lives that exist beyond the barriers of the fiction (Sarah has easy-going, natural friendships; Traxler is clearly a cop who deals with difficult cases on a daily basis; what we see of Kyle’s war service seems like the traumatic tip of an horrific iceberg). There’s also the thematic unity of the movie, which expertly supports a central idea – a machine attempting to kill a human being – with numerous examples of technology being unhelpful. A construction site reminds Kyle of the mechanical war engines of his youth. Ginger doesn’t hear her boyfriend being killed because her Walkman headphones are too loud. The Terminator locates Sarah by listening to an answerphone message. Dr Silberman’s misses seeing the Terminator because his beeper distracts him. But these conceptual jokes never get in the way or draw attention to themselves; they’re part of a fully realised vision, which is exciting, suspenseful and packs a hell of a lot into a lean, trim running time of 103 minutes. The high-octane final 15 minutes are then breathlessly brilliant and focused, almost like a modern action thriller has time-travelled back 35 years to terrorise 1980s cinema. And just when you think it’s peaked with an enormous explosion, we get a then-innovative false ending: the Terminator emerges phoenix-like out of the fire, kicking the movie into an ever higher gear. A masterpiece.
Ten nice nights for a walk out of 10