Terminator Week: Terminator 2: Judgment Day (1991)
While never quite the lean, ruthless thrill machine that its blockbuster 1984 predecessor was, Terminator 2: Judgment Day boasts other delights and virtues. For one thing, it continues the story of the frequently imperiled Connors with stirring intensity and amazing pyrotechnics and stunts.
And -- perhaps more significantly -- it provides the genre one of its most amazing and influential villains: Robert Patrick as the T-1000, a shape-shifting, CGI-morphing leviathan.
I still vividly recall seeing this film theatrically in 1991 and being blown away not just by Patrick’s steady, focused performance, but also by the elaborate and confident special effects presentation of the character.
Patrick carries his strength not merely in his narrow, athletic form (a far cry from the bulging, super-muscular Schwarzenegger) but in his predatory, all-seeing eyes, which showcase enormous power and drive.
If Robert Patrick were not completely convincing in his role, this movie wouldn’t work, plain and simple. But he’s up to the task, and thus creates a classic villain. A true testament to his powerful presence is the fact that throughout the film, Arnold truly seems imperiled and outclassed by his enemy. Given Arnold's size and weight advantage over Patrick, that's an astounding accomplishment.
In terms of mechanics, the T-1000 was created through the twin techniques of morphing and warping. Morphing is described as the "seamless transition" between two images or shapes, and generally uses points in common (like the shape of a nose, or a mouth...) as the basis for the transition.
And once more, this lesson fits in with the film's real life historical context: 1991 was the year of the first Gulf War, the first televised war which saw the deployment of precision or "surgical strikes" on enemy targets.
Underneath the impressive Defense Department briefings on the War -- replete with stunning camera imagery of bombs striking targets -- the truth was evident. Our automated weapons had made a quantum leap forward in accuracy and destructive power since the Vietnam War Era. The Terminator (and SkyNet too) thus did not seem so far out of reach, given the (automated) tech we saw deployed in Desert Storm. Today, we are even further down that road with our automated Predator drones and the like.
And again, Cameron was on the vanguard of a movement in cinema here. The 1990s represented the era of the great self-reflexive genre movie, from efforts such as John Carpenter's In The Mouth of Madness to Wes Craven's New Nightmare and the popular Scream saga. Part of this Terminator sequel's appeal rests strongly in the creative fashion that it re-shuffles the cards of the Terminator deck to present new outcomes, and new twists and turns. The film gently mocks the franchise and the cultural obsession with "political correctness," transforming the Terminator into a "kinder, gentler" model who only shoots out kneecaps.
Facing defeat and destruction in the 21st century, SkyNet sends another Terminator into the past to destroy resistance leader John Connor.
This time, however, the attacking machine is even more advanced than before: a T-1000 (Robert Patrick) made of "poly-mimetic" alloy and a machine that can assume the shape of any human being it physically "samples."
The T-800 is programmed not only to defend Connor from the T-1000, but to obey the ten year old's (Furlong) every command. This quality comes in handy when the T-1000 attempts to "acquire" Sarah Connor (Linda Hamilton), now incarcerated at the Pescadero mental hospital, and John orders the T-800 to mount a rescue operation.
Sarah attempts to kill Dyson in cold blood to prevent the dark future from coming to fruition, but John and the Terminator stop her and propose a different course. They will destroy all of Dyson's working, including the prototype chips (left over from the 1984 Terminator).
The mission is successful, but Dyson dies in the attempt. Finally, the T-1000 re-acquires the Connors, and the T-800 must put his life on the line to stop an opponent of far greater strength and abilities. At stake is the future of the human race itself.
Although overly-long and somewhat heavy-handed at times, Terminator 2 still works nimbly as a self-reflexive thriller that dances a veritable ballet on the audience’s knowledge of the first film.
For instance, as in the first film, this sequel opens with two men appearing from the apocalyptic future. One is thin and lean, and very human-looking. The other is the pumped-up juggernaut Arnold Schwarzenegger.
Because of the earlier film, viewers are conditioned to expect Schwarzenegger as villain again, and look for the Michael Biehn-ish Robert Patrick to be a sympathetic hero. Of course, the opposite is true instead. Our pre-conceived beliefs are used against us.
Here, Sarah sets out to murder a man named Miles Dyson (Joe Morton) before he can complete SkyNet, the system that ultimately destroys mankind and births the terminators. In essence then, Sarah is adopting the approach of the machines she hates so much; killing a person BEFORE that person actually commits a crime. Just as SkyNet sent back a Terminator in 1984 to murder Sarah before she gave birth to John, so does Sarah endeavor to kill Dyson before he gives birth, in a very real sense, to SkyNet.
The implication of this approach, of course, is that Sarah -- in preparing for the future -- has sacrificed the very thing worth fighting for, her humanity itself.
Terminator 2 very much concerns Sarah's loss of humanity, and her opportunity to re-discover it, in large parts due to her son, John. As the movie begins, Sarah is lost and overcome with pain about the future that awaits mankind. But John ultimately teaches Sarah that it is okay to hope again, that the future is "not set," and that there is "no fate but what we make."
In Terminator 2, young John makes Schwarzennegger’s emotionless machine promise not to kill any more humans, and the compromised Terminator spends the remainder of the film shooting up cops’ knee caps. This is quite funny, and it’s deliberately on point with what was happening in the culture of the nineties. In other words, it's inventive, unconventional and politically-correct all at the same time. It's not the eighties anymore, and Arnold has, in a sense, been domesticated. At least a little...
Like so many horror films of the 1990s, Terminator 2 also concern the American family and the modern changes in the shape of the American family. Sarah Connor comes to the conclusion that instead of providing her boy, John, a flesh-and-blood, human father figure, the Terminator played by Arnold is the sanest answer in an insane world. The Terminator won’t grow old, won’t leave, and will never hurt John. He will always be there for the boy, she realizes, and in vetting this idea, the movie states something important about men and machines.
Children do not boast ideologies or political parties, and do not care about issues like nationalism. They are collateral damage in any such bloody conflict, and the prominent placement of the playground -- the domain of the child -- throughout the film makes this point abundantly plain.