“Who am I? Why am I here? What does it mean to be human?”
- Paul M. Sammon, drawing the common philosophical questions presented in Blade Runner and its source novel, Phillip K. Dick’s Do Androids Dream of Electric Sheep?
The romantic science fiction comedy is a rare one, but found its niche in the 1980s. Blade Runner, released in 1982, approached the subject of relationships between human and non-human species early on: Blade Runner Fred Dekkard (Harrison Ford), assigned to kill replicants, an illegal brand of synthetic human, instead falls in love with the almost completely inconspicuous contraband, a young woman named Rachel (Sean Young). The replicants paralelled much older fiction – Mary Shelly’s novel, Frankenstein. The replicants are the creation of Man and consequently, are declared monsters by their creator. The replicants, however, were designed immediately for burdened life: first as the fighters in Man’s wars, then as slaves in the colonizing of other, cleaner planets. Almost all of the replicants are aware of the life plan designated to them (all but Rachel who’s entire memories… her defining human quality… turned out to be mere implants). The Nexus 6 replicants of this story don’t really seek baseless revenge – they desire to reverse their tragedy.
After Blade Runner, the anthropomorphic android was removed from the typically dark, technophobic context of contemporary science fiction, instead placed into causal, modern life. Adapting to the most abstract of human emotion – love – aliens (Starman, Earth Girls Are Easy), computers (Electric Dreams), and robotics (Short Circuit, Heartbeeps) alike became the new source of competition; the new possible prospective mate.
(Horror comedy would similarly find its niche in the tackiness of the mid and late 1980s. Although, more frequently, its purpose was to satirize the awkwardness of adolescence [Teen Wolf, My Best Friend Is a Vampire, Nice Girls Don't Explode]).
Director Susan Seidleman’s third feature film, MakingMr. Right, written by Floyd Byars and Laurie Frank and released in 1987, transitions into the science fiction/romantic comedy genre and borrows on that narrative of non-humans trying to understand core human emotion. But in this case, the lesson in love is imperfect – a curious android seeks his guidance from a woman who is just as confused (and cynical) about relationships (hell, most of the characters are).
Momentarily placing aside the typical tacky bohemia for which her New York City settings were most conducive (Smithereens, Desperately Seeking Susan and returning to this in 1989 with her fourth film, Cookie) Making Mr. Right is set in Miami, a location that nonetheless allowed Seidleman access to her trademark fusion of art deco and 80s new wave (in both visuals and soundtrack). (It also enabled her characteristic commentary on lavish consumerism).
Ann Manguson plays Frankie Stone — characteristically bold, fashionable, witty and… currently single. She exhibits that perfect for that pop feminine chic central to Seidleman’s leading women. Roger Ebert’s 1987 review highlight’s the director’s sensibilities of character perfectly: “…she hits her stride as a comedy director who would rather be clever than obvious, who allows good actors such as Malkovich to go for quiet effects rather than broad, dumb cliches).” With this story (romance and the identity crisis) and this decade (the 80s), there is often that risk of coming off as pitifully saccarine. But, Seidleman’s work always managed to steer from being disastorously campy and in largely because her choice of leading women in particular were key in maintaining that momentum. And, Manguson was perfect for the part. She had previously (and very briefly) appeared in a bit part in Seidleman’s previous comedy caper, Desperately Seeking Susan (as a traditional cigarette vendor at the Magic Club), she is more famously known for her singer/songwriter work with experimental bands like Bongwater and Vulcan Death Grip.
Bumped by her colleague as the public relations lead for the mayoral race, a move that coincided with her breaking up with the conceited candidate, frazzled career woman Frankie Stone is hired by NASA to work on their latest project: a human-looking robot named Ulysses (a young John Malkovich). Originally designed to explore space beyond human’s physical, mental, and emotional capacity (think: isolated missions), the business-minded team of engineers want to expand the android’s uses, eyeing marketing potential for the robot as a domestic servant and emergency services assistant. Ulyesses, unlike predecessor robots, has the ability to learn and adapt, both mechanically and socially. Unfortunately, the brilliant scientist who invented the robot, the arrogant eccentric Jeff Peters (also John Malkovich, since the robot’s appearance is modeled identical to Jeff’s), is hopelessly incapable of “humanizing” Ulyessus; making him seem less robotic and more human (something appealing to grantors and investors!). That’s precisely what Frankie is hired to do.
In the isolation of the lab, his lone source of knowlege about people, about human interaction, about the outside world, is all learned through Frankie, whom smitten Ulysses falls for. The film’s promotional poster of course sums up the doubt about the robot being a Mr. Right (the springing head is a reference to a scene with Glenn Headly), or at least Frankie Stone’s answer to the most suitable mate. Unlike the almost-indistinguishable replicants of Blade Runner, Seidleman’s android centerpiece still retains robotic qualities, even though it’s sometimes forgettable until he seriously malfunctions. It leaves that resistance to call the robot a possible “perfect man” (even where this robot is… well-endowed).
But, the more interesting element, rare to narratives like this one (expanding beyond Blade Runner’s meta-physical posturing), is that the android and the human (in this case, his inventor) increasingly become a mutual doppelganger. Ulyessus becomes more sociable, more curious about human interaction and the oustide world. And, for his innocence, he’s hypnotically charming. (This leads to two particulary great scenes – a shopping mall date with Laurie Metcalf’s character, who mistakes Ulyesses for her ideal love interest Jeff, and a scene in which Glenn Headly’s character think she’s accidentally decapitated Ulyesses when his head falls off during sex.) On the other hand, Jeff blames any of the hijinks initiated by Ulyesses insatiable curiosity about human life on meddlesome Frankie Stone. But worse, he’s increasingly defined more by limited social qualities of a pure robot – little else than mechanical scientific genius (save one brief attempt to be personable). It is perhaps John Malkovich in one of his most versatile roles, simply because he had to exhibit such a wide range of personality (or lack thereof). For once it was not merely the robot steadily transforming (as much as he could) to human, but his maker had increasingly taken the form of the robot (and happily so), indifferent to social connection and its consequential emotional attachment.
All Your Synthetic Charms Are Belong To Us: Making Mr. Right
November 18, 2008The romantic science fiction comedy is a rare one, but found its niche in the 1980s. Blade Runner, released in 1982, approached the subject of relationships between human and non-human species early on: Blade Runner Fred Dekkard (Harrison Ford), assigned to kill replicants, an illegal brand of synthetic human, instead falls in love with the almost completely inconspicuous contraband, a young woman named Rachel (Sean Young). The replicants paralelled much older fiction – Mary Shelly’s novel, Frankenstein. The replicants are the creation of Man and consequently, are declared monsters by their creator. The replicants, however, were designed immediately for burdened life: first as the fighters in Man’s wars, then as slaves in the colonizing of other, cleaner planets. Almost all of the replicants are aware of the life plan designated to them (all but Rachel who’s entire memories… her defining human quality… turned out to be mere implants). The Nexus 6 replicants of this story don’t really seek baseless revenge – they desire to reverse their tragedy.
After Blade Runner, the anthropomorphic android was removed from the typically dark, technophobic context of contemporary science fiction, instead placed into causal, modern life. Adapting to the most abstract of human emotion – love – aliens (Starman, Earth Girls Are Easy), computers (Electric Dreams), and robotics (Short Circuit, Heartbeeps) alike became the new source of competition; the new possible prospective mate.
(Horror comedy would similarly find its niche in the tackiness of the mid and late 1980s. Although, more frequently, its purpose was to satirize the awkwardness of adolescence [Teen Wolf, My Best Friend Is a Vampire, Nice Girls Don't Explode]).
Director Susan Seidleman’s third feature film, Making Mr. Right, written by Floyd Byars and Laurie Frank and released in 1987, transitions into the science fiction/romantic comedy genre and borrows on that narrative of non-humans trying to understand core human emotion. But in this case, the lesson in love is imperfect – a curious android seeks his guidance from a woman who is just as confused (and cynical) about relationships (hell, most of the characters are).
Momentarily placing aside the typical tacky bohemia for which her New York City settings were most conducive (Smithereens, Desperately Seeking Susan and returning to this in 1989 with her fourth film, Cookie) Making Mr. Right is set in Miami, a location that nonetheless allowed Seidleman access to her trademark fusion of art deco and 80s new wave (in both visuals and soundtrack). (It also enabled her characteristic commentary on lavish consumerism).
Ann Manguson plays Frankie Stone — characteristically bold, fashionable, witty and… currently single. She exhibits that perfect for that pop feminine chic central to Seidleman’s leading women. Roger Ebert’s 1987 review highlight’s the director’s sensibilities of character perfectly: “…she hits her stride as a comedy director who would rather be clever than obvious, who allows good actors such as Malkovich to go for quiet effects rather than broad, dumb cliches).” With this story (romance and the identity crisis) and this decade (the 80s), there is often that risk of coming off as pitifully saccarine. But, Seidleman’s work always managed to steer from being disastorously campy and in largely because her choice of leading women in particular were key in maintaining that momentum. And, Manguson was perfect for the part. She had previously (and very briefly) appeared in a bit part in Seidleman’s previous comedy caper, Desperately Seeking Susan (as a traditional cigarette vendor at the Magic Club), she is more famously known for her singer/songwriter work with experimental bands like Bongwater and Vulcan Death Grip.
Bumped by her colleague as the public relations lead for the mayoral race, a move that coincided with her breaking up with the conceited candidate, frazzled career woman Frankie Stone is hired by NASA to work on their latest project: a human-looking robot named Ulysses (a young John Malkovich). Originally designed to explore space beyond human’s physical, mental, and emotional capacity (think: isolated missions), the business-minded team of engineers want to expand the android’s uses, eyeing marketing potential for the robot as a domestic servant and emergency services assistant. Ulyesses, unlike predecessor robots, has the ability to learn and adapt, both mechanically and socially. Unfortunately, the brilliant scientist who invented the robot, the arrogant eccentric Jeff Peters (also John Malkovich, since the robot’s appearance is modeled identical to Jeff’s), is hopelessly incapable of “humanizing” Ulyessus; making him seem less robotic and more human (something appealing to grantors and investors!). That’s precisely what Frankie is hired to do.
In the isolation of the lab, his lone source of knowlege about people, about human interaction, about the outside world, is all learned through Frankie, whom smitten Ulysses falls for. The film’s promotional poster of course sums up the doubt about the robot being a Mr. Right (the springing head is a reference to a scene with Glenn Headly), or at least Frankie Stone’s answer to the most suitable mate. Unlike the almost-indistinguishable replicants of Blade Runner, Seidleman’s android centerpiece still retains robotic qualities, even though it’s sometimes forgettable until he seriously malfunctions. It leaves that resistance to call the robot a possible “perfect man” (even where this robot is… well-endowed).
But, the more interesting element, rare to narratives like this one (expanding beyond Blade Runner’s meta-physical posturing), is that the android and the human (in this case, his inventor) increasingly become a mutual doppelganger. Ulyessus becomes more sociable, more curious about human interaction and the oustide world. And, for his innocence, he’s hypnotically charming. (This leads to two particulary great scenes – a shopping mall date with Laurie Metcalf’s character, who mistakes Ulyesses for her ideal love interest Jeff, and a scene in which Glenn Headly’s character think she’s accidentally decapitated Ulyesses when his head falls off during sex.) On the other hand, Jeff blames any of the hijinks initiated by Ulyesses insatiable curiosity about human life on meddlesome Frankie Stone. But worse, he’s increasingly defined more by limited social qualities of a pure robot – little else than mechanical scientific genius (save one brief attempt to be personable). It is perhaps John Malkovich in one of his most versatile roles, simply because he had to exhibit such a wide range of personality (or lack thereof). For once it was not merely the robot steadily transforming (as much as he could) to human, but his maker had increasingly taken the form of the robot (and happily so), indifferent to social connection and its consequential emotional attachment.
*Credit to AC for the title.
Posted in 80s movies, commentary, cult flicks and obscure picks, monsters and motherships, reviews | Tagged Androids, Ann Magnuson, Blade Runner, Glen Headly, John Malkovich, Making Mr. Right, Replicants, Romantic Science Fiction, Susan Seidleman |