Review of The Terminator (1984) by Moviemaniac83 — 22 Apr 2015

The Terminator, the film that catapulted Arnold **** into Hollywood's stratosphere, was never designed for more than a niche audience. Indeed, while the film made a nice profit for Orion Pictures (returning grosses about six times its cost), it did not make the kind of money that would cause it to be labeled a "blockbuster" or that would justify a sequel. But The Terminator arrived at a time when America's appetite for science fiction was escalating and when the home video revolution was taking off. Although only a minor success in theaters, The Terminator was a gargantuan hit on home video. And, when James Cameron solidified his reputation by directing Aliens, it became unthinkable that there would not be a sequel to The Terminator.

The movie's strength is that, like The Matrix, it combines action with ideas. This isn't a run-of-the-mill turn-off-the-brain collection of chases and fight scenes. The plot, which involves time travel and the paradoxes inherent therein, requires viewers to pay attention or risk having no idea what's happening. I remember leaving the theater 25 years ago and hearing a girl remark: "I liked it but I didn't understand what was going on. Was that guy from the future Arnold's father?" Cameron, as it turns out, took a little too much license in claiming full credit for the story. Noted science fiction author Harlan Ellison sued, arguing that The Terminator bore more than a passing resemblance to two of his Outer Limits teleplays, "Soldier" (about two time-traveling soldiers who end up in 1964, where they fight to the death) and "Demon with a Glass Hand" (about a time-traveling robot that looks like a man). The settlement resulted in Ellison gaining an on-tape credit as well as an undisclosed amount of money.

The Terminator is structured as one long chase, with the vulnerable Sarah and Reese fleeing from the relentless Terminator. At first, Sarah distrusts Reese, believing him to be demented. But, once The Terminator has destroyed a police station and killed most of the cops within, she has no choice but to trust Reese. That bond develops into a romance, but The Terminator's pursuit allows little opportunity for down time or sweet nothings. Nevertheless, Cameron has a knack for getting us to care about the characters and their relationship even though not a lot of time is spent getting to know them. (There are actually more "character building" sequences in the more heavily action-oriented Terminator 2.).

Key special effects, which were cutting edge in 1984, appear dated by today's standards. Stan Winston's stop-animation Terminator, which takes over for Schwarzenegger at the end, looks like what it is: the product of a special effects lab. It's not credible, but the story is strong enough to overcome such shortcomings. In fact, some of the other visual chicanery - time travel effects, Schwarzenegger's makeup, and flash-forward scenes set in a post-apocalyptic 2029 - are effective. By the time Terminator 2 arrived, Cameron had both the budget and the ability to better integrate the robot Terminator into its surroundings. The herky-jerky awkwardness that marks the climax of the first movie is not evident during the sequels.

The potential evidenced by Cameron in The Terminator - the ability to sustain suspense, meld action with story, and provide compelling characters despite the limitations of the actors portraying them - would be fully realized in two future features, Aliens and Terminator 2. This movie, however, is in some ways more impressive than either of those because of what the filmmaker was capable of achieving with a limited budget and without significant studio backing. The themes and ideas presented in The Terminator hold up well today, even though we have moved into the post-Cold War era and only the most nihilistic individuals could see 2029 in such bleak terms. It's a rousing science fiction story that proves an on-screen adrenaline rush need not short-circuit the brain.