Guy at a video arcade drops a quarter into a slot and starts playing - for its time - a VERY advanced video game called Light bikes.
We see the older man from the blue bike step up to a podium where he is surrounded by light. The light becomes a fragmented face and the face talks, calling blue bike guy Sark (David Warner: CAST A DEADLY SPELL, IN THE MOUTH OF MADNESS, SCREAM 2, PLANET OF THE APES ), and telling him that he is becoming brutal and needlessly sadistic. Sark takes this as a compliment, "Thank you Master Control."
Once again we dive into the computer, to see Flynn's hacker program Clu (Jeff Bridges again). Flynn is typing text, has no ability to actually talk to his program, and yet we hear his user voice coaching and giving moral support to his program to guide it past the barriers and into ENCOM's database. Things don't go well for Clu which leaves a frustrated Flynn. Clu, in the digital hands of MCP, won't reveal his User and being just a hacker program, is unnecessary to MCP. So Clu is de-rezzed. That's how programs die in TRON. They are de-rezzed outright or play on the game grid.
Of course, but MCP isn't a person. MCP was developed as an attempt to create an Artificial Intelligence built from the ground up as a game program. It can no more reprogram its virtual genetic algorithm than you can reprogram your actual one.
But MCP wants to, and its learning.
When MCP gained both intelligence and self-awareness three years ago, it kept that knowledge to itself. Then for protection, MCP made a deal with Ed Dillinger (David Warner again), one of the least adept programmers on the staff. Through Dillinger, MCP began systematically weeding out those programmers on the payroll of ENCOM it felt were potential threats, while turning their work over to Dillinger for pay raises and promotion.
On the surface, it appears to everyone at ENCOM that Ed Dillinger is the brains behind MCP, directing the hundreds of programmers in ENCOM's employ on what to build, what to add, what to integrate into the main computer program that runs the business of ENCOM. But in reality, MCP controls and orchestrates the writing and coding of whatever it wants. Add to that all of the programs across the world in other companies and systems that MCP can hack into and steal. In truth, MCP controls ENCOM, controls DILLINGER, and tightens its grip on him everyday. Because of the way it was written, MCP sees the world as one giant game to be won. That's how it works in video games. You amass more weapons, experience, and power to win over tougher and tougher opponents. MCP can't compute in any other way, which is both its greatest strength and weakness.
In one scene, we see where MCP has captured an accounting program and prepares it for the games. The program, in human form, tries to explain to its captors that it isn't a gaming program, would be no good at games, and can't even function properly (behave like an accounting program) unless it is returned to the control of its User: None of which makes any sense to MCP. All it knows how to do is play and win games.
Earth of course, is the biggest game of all.
To get in, Kevin Flynn is pretty sure, or at least hopes, that there is no one at ENCOM who could destroy his digital signature without re-writing the entire game.
Meanwhile MCP, alarmed over the attempted hack, calls Dillinger back from a company trip. We see that Dillinger's password to talk to MCP is "Master". When MCP tells Dillinger that a hack program tried to enter the system, we hear the full body of the problem. Flynn didn't fix all the security holes in his game programs before he was fired, but he was able to prevent his digital signature from being erased. It is Flynn's game kernel (the kernal is the foundation upon which everything is coded) that makes the very game grid of the MCP: its digital DNA. Even MCP is unable to remove those files and at best, can only hide or quarantine them in the system. MCP is certain that Flynn is the writer behind the hack program Clu.
Unable to continue his work, Alan leaves his vast cubicle area and heads to the Laser level where his girlfriend, Lora (Cindy Morgan: GALAXIS) is working on a project with inventor and all around old nerd, Dr. Walter Gibbs (Barnard Hughes: SISTERS , THE LOST BOYS). Giddy with anticipation over the testing of his new invention, Dr. Gibbs attempts to make small talk with Lora, who dutifully puts up with the socially awkward old coot. Old coot yes, but a stunning genius! Doc Gibbs has invented the first crude but workable matter transporter. It can deconstruct a solid object (in this case an orange) at the molecular level, then perfectly rebuild it. This is the kind of future tech that went all wrong in THE FLY and is taken as a matter of fact in STAR TREK. Holy CRAP what an incredible invention!
As anyone knows from watching the trailer, everything goes horribly wrong when Kevin Flynn, having no idea that MCP is both intelligent and sentient, sits in the wrong place while MCP realigns the special laser that will take Flynn apart and re-assemble an electronic version of him within the computer system.
And it works.
Some of it is amazingly prescient for today while other parts are just wrong-headed or backward. But co-writer and director Steven Lisberger** was a hardcore computer wizard in his time, built his own computer company on the archaic computer animation abilities of that period, and wanted to tell a story that people could understand. As he tried to explain his computer world concepts over and over to various Hollywood studios, he got to know the glazed-over stare he'd get trying to pitch a tale that was simple to him, but way over the heads of non-geeks.
So he made TRON a fantasy. And once he did that, he felt that the only Hollywood studio that would understand, would be Disney.
Back in the 1950s and 1960s, old Walt Disney was mad for computers. He understood that they were the future of our society and integrated them whenever he could into his themepark and movies. From the various robots in the Haunted Mansion to the Hall of Presidents and more, it all ran on machines and computer programs created specifically for Disney. What's more, the computerized, roboticized Disney themepark even inspired other books and movies (WESTWORLD). Lisberger felt that if any studio had a computer culture ingrained within the corporate dynamic, it would be Disney. And he was right. The folks at Disney "got it". They gave him the green light, and it was now up to him and co-writer Bonnie MacBird.
There were problems from the outset. Steven knew how to direct fellow computer nerds to run a company, but he didn't know how to direct actors to show emotion. He didn't know how to tell his actors that the expressions on their faces weren't working and they needed to adjust up or down or the many ways a director coaches great actors to deliver their best. Steven kept accepting mediocre takes so that's what his actors delivered, never knowing how bad it looked until they sat in on the premier and saw the embarrassing final cut. None of his main actors could grasp what the story was about or what they were supposed to be doing (I just killed a guy with a Frisbee? Was it a sharp Frisbee? Seriously! What the hell is my motivation?).
Much of what they were supposed to be looking at and interacting with wasn't there. It wouldn't exist for another year or two, as the achingly slow computers of the time, with hard drives the size of washing machines and only capable of holding 250 megabytes, built the virtual sets.
Steven tried to impress on his actors to think about it as stage theater, and create their surroundings in their minds. Jeff Bridges, David Warner, Bruce Boxleitner, Cindy Morgan, Barnard Hughes, and Dan Shor (STRANGE BEHAVIOR, STRANGE INVADERS, NIGHT TRAIN) tried, but were unable to picture what Lisberger was trying to get across because there was nothing ever like the environment of TRON before.
TRON is a great scifi fantasy concept, decades ahead of its time, but poorly executed. One can imagine MCP as a fantasy evil wizard, Tron as the conquering hero, Dumont (also Barnard Hughes) as the old but benevolent king, but the comparisons are flimsy. Such fantasy stories don't take into account Yori (also Cindy Morgan) who is no princess and is a program doppleganger for her User. Outsider Flynn, who is a User and not a program, but lives among the programs, or Sark, who is nobody's Sauron. No story like Tron ever existed before and, until the sequel is released later this year, no one has tried to tell such a story since, though THE THIRTEENTH FLOOR and THE MATRIX came close. Even now both in story and visuals, TRON is a wonderful original place unlike any movie you've ever seen, and an amazing if flawed adventure.
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