It’s funny sometimes to revisit a twenty year old film
that had groundbreaking visual effects for its day. In some cases (Terminator 2: Judgment Day comes to
mind) the effects look about as good as anything today. More often than not,
however, they look more like Total Recall
There’s plenty to admire in Paul Verhoeven’s science fiction futuristic
mind-bender if you can ignore what looks like cheesy B-movie effects. Then
again, that B-movie look is somehow more fitting for the movie. After all, its
story is the stuff of classic B-movie science fiction.
I never realized it before, but Total Recall is almost a direct forerunner of The Matrix and Inception.
You can see the early philosophical renderings of dream world versus reality
even down to the offering of a pill to escape the dream. The medium of cinema
is obviously fertile ground for exploring that split. We go to movies to escape
reality; to get wrapped up in others’ lives; to fantasize about being someone
else for two hours. All of which are about dreaming in one way or another. So
when Doug Quaid (Arnold Schwarzenegger) is offered the chance to escape his
dull reality as a construction worker and become a super spy on the planet Mars,
we understand his desire for we too have come to his story for an escape.
What begins as a simple procedure to have memories of a
vacation to Mars that he never took implanted becomes much more when he opts
for a theme memory package that includes getting mixed up in a spy scenario.
That’s when things start getting really strange. The technicians find recessed
memories trying to surface and soon Doug is wrapped up in interplanetary
intrigue that suggests he’s not who he thinks he is. Was he really a spy who
had his memory erased? Is his wife (Sharon Stone) a planet put in place to
support his fake identity?
The plot details are far too complex to summarize, but
they involve rebel factions on Mars fighting against the oppressive government
controlled by Cohaagen (Ronny Cox) for the mining of a valuable element. Doug
is a pawn at the center of a plot that increasingly resembles the vacation
package he purchased. Therein lies the ambiguity in the film. We’re never
really sure, as Doug is not sure, what’s real and what isn’t. In the end it
shouldn’t matter to the audience because we get our dose of action and thrills
regardless. No movie is real so who cares if the movie of Doug’s life is real?
The thing you realize about Ah-nold when you go back and
watch his movies is that he’s actually a terrible actor. I noticed this more
than ever watching The Expendables 2
recently. But we can overlook his shortcoming as a thespian because of his
great abilities as an action star. Plus it can just be great fun as a thrill
ride. And the presence of Michael Ironside as the heavy, Cohaagen’s enforcer,
just adds to the fun and notches the creepiness factor up a bit.
The screen story was adapted by Jon Povill, Ronald
Shusett, and Dan O’Bannon from a Philip K. Dick short story. Gary Goldman
collaborated on the screenplay with Shusett and O’Bannon. Like most film
adaptations of Dick’s work, it’s apparently fairly loose, but retains the
spirit of the original. Dick was not only a great science fiction writer, but a
philosopher. In this case, his work explores the relationship between memories
and reality. Experience shows us that it’s a fragile relationship. What does it
mean for our actual experiences if our memories tell us something different? There
are some cool ideas at work, although I’m not entirely sure they’ve been
captured or treated with the appropriate finesse in Total Recall.
As a director, Paul Verhoeven has tended to comment (at
least in his American films) on the power of media as a propagandizing tool for
the rich and powerful and of the capacity for power to corrupt too easily. His
vision of the future is bleak, perhaps somewhat reflecting his early childhood
in the Nazi-occupied Netherlands. It indicates a cynicism about the direction
of humanity that the residents of Mars are either part of a wealthy ruling
class and their security forces or freaks who scrape bottom for a living and
depend entirely on the benevolence of their masters, who can turn off their air
at any moment. Verhoeven can be easily dismissed as little more than a
Hollywood hack who specialized in overblown action movies, the Michael Bay of
his day. However, I find his work in science fiction occasionally rubs
shoulders with the exceptional.
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