Spielberg's 'A.I.' an emotional journey

Joko E.H. Anwar, Contributor, Jakarta

A.I., **** out of four stars; Drama/Sci-Fi, 145 minutes; Starring Haley Joel Osment, Jude Law, Frances O'Connor, Sam Robards, William Hurt, and voice by Jack Angel; Written by Steven Spielberg based on a screen story by Ian Watson, based on a short story by Brian Aldis; Directed by Steven Spielberg; An Amblin Entertainment/Dream Works SKG/Stanley Kubrick Productions/Warner Bros. Productions

I found myself greatly provoked, more emotionally than intellectually, by A.I. (Artificial Intelligence), the latest offering from Stephen Spielberg.

The reason for this, I would say, is that the film is capable of penetrating layers of emotional shields with its simple story of love and hope, while masquerading as a science fiction film.

The opening narration is simple and tells you nothing except going through the motions of the standard preface for post- apocalyptic stories.

The same could be said when Professor Hobby (William Hurt), presents his argument when one of his colleagues questions if humans are capable of being able to feel love for robots specifically created to love them.

He says, "It's a moral question, isn't it? One of the oldest ones, too. Didn't God create humans to love him?"

Thankfully, A.I. doesn't try to give you an answer but simply takes you on an emotional journey on which you will never know when you are going to stop, even long after the film ends.

The filmmakers clearly did not intend to make this a visual feast as the first third of the movie is mainly set indoors, without a vast range of neat gadgets to indicate that the story is set in a far future.

Certainly, Spielberg is capable of giving us much more eye candy if he wants to.

The plotline is based on the premise that an enormous flood has destroyed many nations, though several of them, mostly rich countries, survived.

Since natural resources, including food, are scarce, a new law is established regulating that people are allowed to have one child only.

Androids called "mecha" are built to serve humans. Some of them work as domestic helpers while others are even built to be sex workers.

Monica and Henry Swinton (Frances O'Connor and Sam Robards) almost give up hope of finding a cure for the rare disease suffered by their only son, Martin, who lies helplessly inside a capsule in the hospital.

Their situation makes them perfect candidates to become the parents of a new mecha named David (Haley Joel Osment), the first mecha capable of loving a person as his parent once the person reads his activation code.

Monica is reluctant to replace her son with a mecha. But the robot, which resembles an 11-year-old boy, quickly wins her heart.

After an unexpected situation occurs, David is forced to leave the family and is left in the jungle.

Feeling denied love from Monica, David embarks on a journey to find the Blue Fairy, the character in Pinocchio, which Monica once read to him. During his journey, David meets a mecha prostitute named Gigolo Joe (Jude Law), who helps him search for the Blue Fairy.

The acting in this film is simply excellent. At times, just when you think the film will be resolved, it goes off on a new tangent, leading to another resolution, none of which feels forced in any way.

Based on a short story titled Supertoys Last All Summer Long, the film had been a long-time pet project of Stanley Kubrick.

After he passed away in 1999, the work was passed by his widow and brother to Spielberg, whom the late director had discussed the project with since the 1980's.

The result is a grim perception of humanity and a neverending hope that humankind can be otherwise.

It is a fairy tale, though not necessarily with a standard fairy tale ending. And, just like any other fairy tale, it requires the audiences to be humble in letting it touch their emotions. You will feel rewarded, even if you have to shed some tears.