{"id":3652,"date":"2017-12-15T03:30:27","date_gmt":"2017-12-15T03:30:27","guid":{"rendered":"https:\/\/travelingboy.com\/travel\/?p=3652"},"modified":"2018-02-17T15:03:23","modified_gmt":"2018-02-17T15:03:23","slug":"george-lucas-thx-1138-look-back","status":"publish","type":"post","link":"https:\/\/travelingboy.com\/travel\/george-lucas-thx-1138-look-back\/","title":{"rendered":"George Lucas\u2019 THX 1138 \u2013 A Look Back"},"content":{"rendered":"

\"THXDirected by<\/strong>: George Lucas <\/a><\/p>\n

Writing Credits:<\/strong><\/p>\n

Story by George Lucas <\/a><\/p>\n

Screenplay by\u00a0George Lucas<\/a>\u00a0and\u00a0Walter Murch <\/a><\/p>\n

Produced by:<\/strong><\/p>\n

Francis Ford Coppola<\/a>\u00a0… executive producer<\/p>\n

Edward Folger<\/a>\u00a0… associate producer (as Ed Folger)<\/p>\n

Larry Sturhahn<\/a>\u00a0…\u00a0producer (as Lawrence Sturhahn)<\/p>\n

Music by<\/strong>:\u00a0Lalo Schifrin<\/a><\/p>\n

Cinematography<\/strong>:<\/p>\n

Albert Kihn<\/a> …\u00a0director of photography<\/p>\n

David Myers<\/a>\u00a0…\u00a0director of photography<\/p>\n

Film Editing by<\/strong>:\u00a0George Lucas<\/a><\/p>\n

Cast<\/strong>:<\/p>\n

Robert Duvall<\/a><\/p>\n

Donald Pleasence<\/a><\/p>\n

Maggie McOmie<\/a><\/p>\n

Don Pedro Colley<\/a><\/p>\n

George Lucas\u2019 THX 1138<\/em><\/h2>\n

By Walt Mundkowsky<\/em><\/p>\n

In 1967 George Lucas, a student at the University of Southern California, made Electronic Labyrinth<\/i><\/b> THX<\/i><\/b> 1138 4EB<\/i><\/b>, a 15-minute short about a computerized society; it won a National Student Film Award and Warner Bros. financed its expansion into this feature. (EB<\/i><\/b> stood for Earth Born.) THX 1138<\/i><\/b> has problems but it establishes Lucas, at 25, as someone to follow.<\/p>\n

\"Robert<\/p>\n

The script (by Lucas and Walter Murch, from Lucas\u2019 story) is the largest hang-up. This futuristic world is the usual batch of clich\u00e9s: the all-powerful State, with its cheery announcements and imposing, shiny robot police; numbers rather than names, identical uniforms, shaved heads; chemically produced babies, sex (read love) is outlawed, etc. THX 1138<\/em><\/strong> comes 39 years after Brave New World<\/em><\/strong> and 22 after 1984<\/em><\/strong>, and not one of its ideas wasn\u2019t used to greater advantage in those classics.<\/p>\n

Making an anti-technology film on a level this na\u00efve is like making an anti-shrubbery movie. Even in light of the simplistic plot, the assault looks misguided. The hero escapes the society with a cunning application of the technology at hand. That eventual ending is fake: It\u2019s an escape to the earth\u2019s surface \u2014 the entire \u201cworld\u201d turns out to have been underground \u2014 and THX stands motionless, as if mesmerized, in front of an enormous sinking sun. Now what?<\/p>\n

The dialogue also contains numerous lines that strain to comment on our own times. The tape-recorded voice urges THX , \u201cBuy more. Buy more now. Buy. And be happy.\u201d Nobody in the film is ever seen buying anything. Lucas has not found his way to the center of his story, and I see little reaction<\/em><\/strong> to the possibilities of the future as we can perceive them in the present, which Elio Petri\u2019s The Tenth Victim<\/em><\/strong> (1965), for all its pop-art excesses, certainly has.<\/p>\n

\"Robert<\/p>\n

Lucas also has little rapport with his actors. Robert Duvall (THX) has been an uncommonly interesting performer in other roles, but here similar opportunities are absent; he would be stronger if the dialogue and direction gave him a chance. Donald Pleasance would seem ideal as a shifty-eyed worker (\u201cYou know, I have a way with computers \u2014 I can program myself for almost any area\u201d), but his accent and technique separate him from the rest. A San Francisco actress named Maggie McOmie, with crewcut red hair and freckles, is highly attractive as LUH 3417, the hero\u2019s roommate and lover. Her part is small, but if the hero\u2019s flight is to affect us much, she has to cast a shadow over the remainder of the film. Much-needed levity comes from Don Pedro Colley as a hologram who\u2019s planning his own escape.<\/p>\n

\"THX<\/p>\n

The first few minutes (after a horrendous Buck Rogers film clip and the credit titles unrolling in the opposite direction, down instead of up) are superb. Numbers flash on the screen, quick cutting with sections of black film spliced between shots. A TV-screen image, grainy and tinted blue, of LUH (as we later learn). \u201cWhat\u2019s wrong?\u201d a voice asks. \u201cNothing. Nothing, really.\u201d A series of rapid-fire computer printouts. Another TV image; it is THX 1138. \u201cWhat\u2019s wrong?\u201d \u201cNothing, I \u2026 never mind.\u201d A control panel lights up as buttons are pushed. Reassuring messages fly off the soundtrack: \u201cTake four red capsules. In 10 minutes take two more. Help is on the way!\u201d \u201cFor more enjoyment and greater efficiency, consumption is being standardized. We are sorry.\u201d Slogans multiply: \u201cKeep up the good work and prevent accidents.\u201d Then we hear that \u201cthis shift is concluded.\u201d THX leaves his post and takes an escalator which leads into dazzling whiteness. Long, brightly lit white corridors. THX goes into a booth, like confession. The responses he receives have been recorded in advance: \u201cVery good \u2026 yes, I understand \u2026 I \u2026 yes \u2026 yes, I understand \u2026 yes, I \u2026 excellent \u2026 yes \u2026 could you be more \u2026 specific? \u2026 You are a full believer \u2026 let us be thankful we have an occupation to build.\u201d THX goes to his apartment and watches the wall-size TV \u2014 sex, violence, stand-up comics. \u201cYou know, I don\u2019t feel well,\u201d he says. \u201cTake a sedation,\u201d LUH suggests. She is sick in the bathroom and the solicitous announcer reminds her, \u201cRemember, an Interval overdose may cause a serious chemical imbalance.\u201d THX is worried about her; he tells the confessor, \u201cJust an ordinary roommate. I share rooms with her; our relationship is normal, conforming. We share nothing but space. What is she doing to me?\u201d So far Lucas has kept everything brilliantly controlled; I would like to know more about this society than THX knows, but within that limitation the first part convinces.<\/p>\n

\"THX<\/p>\n

But once THX and his hot-blooded friend get going, clich\u00e9s stack up like firewood. She tells him after they make love the first time, \u201cI was so afraid. I\u2019m so alone. I wanted to touch you \u2014 so many times.\u201d Later the Orwell vibe kicks in. \u201cThey\u2019ve been watching us. I can feel it,\u201d she says. \u201cNo one knows,\u201d he counters. She: \u201cThey\u2019re watching us now.\u201d He: \u201cNo one can see us.\u201d No soap opera could survive without this complaint: \u201cIf you go back on sedation, you won\u2019t feel the same way about me. You\u2019ll report me for drug violation.\u201d \u201cI wouldn\u2019t turn you in, not now.\u201d Later he tells her, \u201cIt can\u2019t go on forever. You know it can\u2019t.\u201d Had Lucas approached the affair simply, it might have worked. But when they are lying together naked and still, discovery by the police is certain. One moment, though, has power. On the run, THX locks himself in a computer room and asks the apparatus what has happened to LUH. The information appears onscreen: \u201cLUH consumed (21 89). Number reassigned to foetus,\u201d followed by its number. A picture of new foetus LUH 3417. The terrible anonymity of her death is shattering because it isn\u2019t pushed at us, in marked contrast to other matters.<\/p>\n

\"strikingLucas has an eye for striking photographs which advance the story. The Technicolor – Techniscope work of Dave Meyers and Albert Kihn is superior; I find the basic visual motif, the white-uniformed humans against blindingly white backgrounds, fascinating and poignant: disembodied heads and hands making their way across the screen in impregnable solitude. Especially fine are the extreme long shots \u2014 most of all, LUH walking towards THX for the last time, her head a speck in a sea of white. Lucas redeems a few photographic commonplaces simply through execution. Few recent films seem to have been made without the telephoto shot of a speeding auto or plane plowing lingeringly through the liquid haze. THX 1138<\/em><\/strong> contains such a maneuver, with THX in a cop\u2019s stolen vehicle \u2014 in the distance, surrounded by the blackness of the tunnel, a shimmering collection of revolving, flashing lights, out of focus; the lights sharpen as they roll closer; at last they turn into a Lola T70 which whips past us.<\/p>\n

A mobile camera is seldom employed; the abrupt cutting patterns, fast and disrupted at the start and slowed down later on, are wholly responsible for the film\u2019s urgent sense of disquiet. Lalo Schifrin\u2019s music is a step above his norm these days \u2014 long, groaning passages for strings or organ, an occasional furtive flute, electronic beeps and whines \u2014 and is cleverly used.<\/p>\n

THX 1138<\/em><\/strong> is just good enough to leave questions about its maker. George Lucas knows how to put a film together; what he seems to lack, at least here, is a reason for making one. I defy anyone to describe him to me on the basis of this; it has finesse but little personality. We shall see if Lucas is more than a skilled technician.<\/p>\n

The official music video for Peter Gabriel\u2019s \u201cI Have the Touch,\u201d off his 1982 Security<\/em><\/strong> album, features extensive clips from THX 1138<\/em><\/strong>. On YouTube.<\/p>\n","protected":false},"excerpt":{"rendered":"

In 1967 George Lucas, a student at the University of Southern California, made Electronic Labyrinth THX 1138 4EB, a 15-minute short about a computerized society; it won a National Student Film Award and Warner Bros. financed its expansion into this feature. (EB stood for Earth Born.) THX 1138 has problems but it establishes Lucas, at 25, as someone to follow.<\/p>\n","protected":false},"author":45,"featured_media":3659,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[117],"tags":[601,598,600,508,599,597],"class_list":["post-3652","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-time-capsule-cinema","tag-don-pedro-colley","tag-george-lucas","tag-maggie-mcomie","tag-movie-review","tag-robert-duvall","tag-thx-1138"],"yoast_head":"\nGeorge Lucas\u2019 THX 1138 \u2013 A Look Back<\/title>\n<meta name=\"description\" content=\"The movie THX 1138 has problems but it establishes George Lucas, at 25, as someone to follow.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/travelingboy.com\/travel\/george-lucas-thx-1138-look-back\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"George Lucas\u2019 THX 1138 \u2013 A Look Back\" \/>\n<meta property=\"og:description\" content=\"The movie THX 1138 has problems but it establishes George Lucas, at 25, as someone to follow.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/travelingboy.com\/travel\/george-lucas-thx-1138-look-back\/\" \/>\n<meta property=\"og:site_name\" content=\"Traveling Archive\" \/>\n<meta property=\"article:published_time\" content=\"2017-12-15T03:30:27+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-02-17T15:03:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/travelingboy.com\/travel\/wp-content\/uploads\/2017\/12\/THX1138-Poster1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"450\" \/>\n\t<meta property=\"og:image:height\" content=\"687\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" 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