Artificial Intelligence: AI (2001)

Note des utilisateurs:

6.9/10   

Réalisateur:

Steven Spielberg

Writers (WGA):

Brian Aldiss (short story "Supertoys Last All Summer Long")
Ian Watson (screen story)

Release Date:

29 juin 2001 (USA)

Genre:

Aventure | Drame | Sci-Fi

Accroche:

David is 11 years old. He weighs 60 pounds. He is 4 feet, 6 inches tall. He has brown hair. His love is real. But he is not.

Plot:

A highly advanced robotic boy longs to become "real" so that he can regain the love of his human mother.

Plot Keywords:

Futuristic | Fairy | Future | Affection | Forest

Awards:

Nominated for 2 Oscars. Another 12 wins & 40 nominations

Avis des utilisateurs:

The Kubrick Dialectic, the Spielberg Inheritance, the AI Challenge

Ensemble

Haley Joel Osment	...	David
Frances O'Connor	...	Monica Swinton
Sam Robards	...	Henry Swinton
Jake Thomas	...	Martin Swinton
Jude Law	...	Gigolo Joe
William Hurt	...	Prof. Hobby
Ken Leung	...	Syatyoo-Sama
Clark Gregg	...	Supernerd
Kevin Sussman	...	Supernerd
Tom Gallop	...	Supernerd
Eugene Osment	...	Supernerd
April Grace	...	Female Colleague
Matt Winston	...	Executive
Sabrina Grdevich	...	Secretary
Theo Greenly	...	Todd

Autre(s) titre(s):

A.I. (USA) (working title (promotional title))
A.I. Artificial Intelligence (USA) (poster title)
A.I.: Artificial Intelligence (USA) (alternative spelling)
A.I. intelligence artificielle (France) [fr]
A.I.: Intelligence artificielle (Canada: French title) [fr]

MPAA:

Rated PG-13 for some sexual content and violent images.

Durée:

146 min

Pays:

USA

Langue:

Anglais

Couleur:

Couleur (Technicolor)

Aspect Ratio:

1.85 : 1

Son:

DTS-ES | Dolby Digital EX | SDDS

Classification:

Malaysia:U | Argentina:13 | Australia:M | Brazil:Livre | Canada:14A | Finland:K-15 | France:U | Germany:12 (bw) | Hong Kong:IIA | Iceland:12 | Ireland:12 | Netherlands:12 | Norway:15 | Philippines:PG-13 | Portugal:M/12 | Singapore:PG | South Korea:12 | Spain:7 | Sweden:11 (re-rated) | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | UK:12 | USA:PG-13

Emplacements De Pelliculage:

Gresham, Oregon, USA

Company:

Warner Bros. Pictures

Anecdotes:

One of the buildings in Manhattan is actually an Apple Macintosh (Harman-Kardon) subwoofer.

Goofs:

Continuity: When Monica reads the notes that David has written, the number of pages in her hand change between shots.

Guillemet:

Monica: I do love you, you know.
[whispers]
Monica: I have always loved you.

Movie Connections:

Featured in You Must Remember This: The Warner Bros. Story (2008) (V)

Soundtrack:

For Always

The Kubrick Dialectic, the Spielberg Inheritance, the AI Challenge

The "literalists" are clearly not happy with A.I. So now is a good time to recall that "2001: A Space Odyssey" was greeted upon release with derision, confusion, dismissive reviews, public consternation, and, oh yeah, some thought it was an absolute masterpiece. Beyond the monolithic influence of that film (think of Han Solo's jump to lightspeed, etc.), the symbols of "2001" -- TO THIS VERY DAY -- cannot be decoded using anything but the most personal, interpretive language. The obelisks, the message of the obelisks, the Star Child, Cosmonaut Dave's "room", HAL-9000's true motivation – all these things remain in our collective subconscious as indelible images that refuse to be concretely defined between or among viewers. WHAT CAUSES THIS CONFLICT OF PERCEPTION? IS IT INTENTIONAL? Again and again, Kubrick's films take us to a No-Man's Land of narrative and moral ambiguity, stranding us, forcing us to make decisions, demanding interpretation (or we can judge the surface, walk away, hate the film). To my perception, Kubrick is the only, true "Brechtian" film director. The device Brecht proposed is "Alienation Effect", or put simply, Leading the audience down two, divergent paths at once. My favorite example is "Barry Lyndon". Being the adventures of a young man, handsome, virtuous, well-meaning, ambitious, full of promise. Yet in every scene, the camera "pulls-back" revealing Barry (but never to himself) to be womanizing, self-absorbed, criminally inclined, socially inept, not very bright, morally bankrupt, and at last, a broken shell of a man. Or let's consider "Strangelove": Did Kubrick really create a headbanger, slapstick comedy about nuclear proliferation, mass destruction, and military/political incompetence? The real question is "Who else could have?" Well, that's my take on Kubrick's artistic sensibility, and, without daring to presume Spielberg's motivation, it's what drew them both to "A.I." Pinocchio, the Blue Fairy, cuddly Teddy Bears on one hand, but on the other hand – social institutions are faltering forever -- parenthood, childhood, science, industry, sexuality -- all distorted beyond repair. And Humans, the ultimate A.I. protagonist, seem blissed-out, in denial, more interested in creating "Davids", "Darlenes" and "Gigolo Joes" than in rising water levels and the imminent threat of extinction. Therefore, I believe A.I. is getting precisely the response all Kubrick films "INITIALLY" get. Spielberg's reputation and career can withstand anything that public perception might bring to his films, but I keep thinking that A.I. is the riskiest moment of his artistic life.