A one day pattern killer
In a bizarre twist on the American dream, we watch a killing machine visit a gun store. It inspects various weapons and shows a level of knowledge down to the millimetre. This instills a sense of camaraderie in the store owner. In a morbid way this is his perfect customer.
Of all the weapons inspected, the 45 long slide requires highlighting.
Unlike the other weapons which the Terminator inspects, this is the only one shown close up, with particular attention being paid to the laser sight. This reverent depiction gives it a timelessly cool quality: a combination of lethal technology and stylish design. In essence, the gun is a reflection of the Terminator, and later became an iconic aspect of the movie’s marketing.
It’s this weapon which highlights a fascinating and overlooked aspect of the Terminator. The poster shows a muscle bound character prepared for combat. It’s easy to see why many view this is an action movie; however nothing could be further from the truth.
The Terminator, at its core, is a horror movie – specifically a slasher film.
Not only is it a slasher film, but its villain was so perfectly realized that it shut down the genre.
How is this possible?
Looking at the famous villains of slasher movies of the time, we can see why:
Michael Myers – Halloween II 1981
Freddy Krueger – A Nightmare on Elm Street 1984
Jason Voorhees – Friday the 13th: The Final Chapter 1984
Each has a signature weapon (kitchen knife, bladed glove, machete respectively) and kills out of some form of insanity. Though scary, these characters pale in comparison with the Terminator. Unlike the psychotic killers listed above, the Terminator operates with an ice cold logic. Physically intimidating, it’s all the more terrifying for its combination of emotional blankness and clinical efficiency. A movie killer’s modus operandi is reflected in their weapon, and for the Terminator, its weapon is a precision instrument.
It’s certainly no accident that the release of The Terminator in 1984 coincided with the end of the golden era of slasher films.
This means that the Terminator was such a perfectly realized villain, that it ended an entire genre of horror.
Simply put, there was nothing scarier.
The Trouble with Time Travel
Whilst reviewing weapons, the following interaction takes place:
The Terminator: “Phased plasma rifle in the 40 watt range.”
Gun Store Owner: (bemused): “Just what you see pal”
Though this might seem like a throw away line, it hints at the consequences of time travel, specifically time dilation. The Terminator is clearly used to wielding Plasma rifles in 2029; however they do not exist in the time of 1984. The line is uttered quickly and easily overlooked, but it’s an example of the subtle details which reward repeated viewings of the film. Conversely, we see the human preparing weaponry. He only has one gun, and is forced to adjust it for concealment. As he walks down the street, we can detect a sense of being out of place. There is a level of tension and alertness which makes him stand out from those around him.
This is someone who does not belong. The sense of disconnect from the current time is a key theme in the movie, and a one that is universal. Though we know very little about this character, we have already subtly identified with him due to his overtly human characteristics: fragility, emotion, pain. The Terminator is who we aspire to be physically, but the traveler is who we are in reality.
One fascinating aspect of the film is the audiences’ relationship with the Terminator. Initially, there’s an appeal to the character: an existence without the fear of repercussions. This power fantasy is cathartic - an outlet for the frustrations of living in our own urban war zones.
Up to now, the Terminator has killed a knife wielding punk and a gun store owner, both of whom were armed and could be considered fair game. It’s not until the next scene that the viewers’ relationship with the Terminator becomes more complicated.
The Terminator guns down a defenceless woman in cold blood. The power fantasy we had has become perverted. The coldness of the execution is disturbing. Killing without a moments hesitation, the admiration we had for the Terminator is now gone. It’s here that the complication begins. Though we want to sever our connection to the character, our earlier indulgence in the power fantasy has left us guilty by association. Now we can’t help but watch with a mixture of fascination and horror, unwitting accomplices to murder.
Already unsettling, an even more disturbing implication of the Terminator is that it is representative of a larger group, shown in the next scene.
Future Nightmares
We see the traveler’s dreams of the future: death everywhere, men and women fighting side by side against gigantic machines – no room for discussions of equality or morality – this is a literal fight for survival.
The machines look down on the humans like insects. This is not a war of ebb and flow, attack and counter attack; this is a systematic extermination of a species.
Despite the film’s limited budget (6.4 Million dollars) the future scenes feel lived in, similar to the filmic universe of Ridley Scott’s Alien (1978) and Cameron’s sequel Alien’s (1986). This is done through the skillful use of miniatures, forced perspective, matte work and lighting. It looks better, and is more believable than most modern day movies. Instead of the uncanny valley effect which comes with modern day CGI, old school practical effects bring a suspension of disbelief. It may not look real, but it’s physically on screen, and feels believable.
As the battle rages, the humans use ingenuity to nullify the superiority of the machines. We see people among the ruins, running from one darkened crack to another like cockroaches.
The panoramic shot here is beautiful, haunting and straight out of a nightmare. It’s an excellent combination of craft, effects and directorial vision.
The traveler awakens, his muscle memory cocking his shotgun. There is temporary relief, but unlike a typical dream, this one is real. This is a man haunted by a nightmare he is powerless to stop.
This is in direct contrast with Sarah and her roommate Ginger in the next scene. Their existence is so carefree that their future doesn’t extend beyond Friday night.
“A one day pattern killer.”
We are then introduced to the two main police officers – Lieutenant Traxler and Detective Vulkovich. The fantastic chemistry between these characters is borne of their contrasting perspectives – Traxler is jaded, having seen it all. Vulkovich on the other hand is in his element, feeding off the vibes of this crime-filled city.
A brief, but key detail here is the picture in Traxler’s hand – this is yet another Sarah Connor that has been murdered. The photos show glimpses of a brutal kill. Traxler sees the pattern that Vulkovich has pieced together. We now know that the young Sarah Connor is next.
“Give me a cigarette”
As the police try to contact Sarah, we see Traxler’s mental state. He takes tablets, swigs cold coffee and smokes. Worn down to the nub, he’s simply trying to get through the day without further deaths. This is a man close to breaking point.
Above is one of the few humorous moments in the film, and like all great humor, there is an element of tragedy to it. Traxler’s nightmare is not in the 2019, it’s now, and he’s living in it.
“Machines Need Love Too”
The following sequence is not only the most brutal in the film, but also the prime case for The Terminator as a horror movie. Many genre tropes are present: a home invasion, a fake scare involving an animal (Puggsley), the transformation of suburbia into a place of terror, and death for those engaging in pre-marital sex.
The Terminator’s entrance is highlighted by the cold, pulsing theme. Matt awakens in time to evade the Terminator’s first attack, and stands ready to fight. This is intercut with Ginger preparing food, oblivious to Matt’s last stand occurring only metres away.
The secret to the scene’s impact lies in the skillful editing. Repeatedly cutting between the bedroom and the kitchen gives us only snippets of what’s happening. Our minds fill in what we don’t see, making Matt’s death appear even more brutal.
Added to this, what makes it all the more unbearable is that Ginger’s death is preventable. With the Walkman masking the sounds of Matt’s screams, she actually walks towards her doom. As our dread peaks, the most horrific kill in the movie unfolds:
The above wouldn’t feel out of place in any horror movie. Ginger is at home, under dressed and unprepared. The blank look on the killer’s face is the polar opposite of the victim’s wide eyed terror. Ginger runs. As time slows down, we experience the sequence like a nightmare. We don’t want to watch, yet we cannot turn away. Here, the laser target becomes a marker for death.
A key point here is that earlier gunshots took place off screen. This is the first time that we see a bullet penetrate human flesh. The impact sends Ginger flying through the air in a beautiful ballet of death.
Even more disturbing is Ginger’s desperate crawling contrasted with the Terminator’s methodical approach. Ginger is then executed up close and in a clinical manner. It’s murder at its most intimate, yet most impersonal.
The Terminator has killed who it believes to be Sarah Connor, and at this point the story is essentially over. However, it’s through technology (Sarah’s call) that the hunt is immediately reignited. Ginger’s voice on the answering machine acts as a macabre reminder of her murder and highlights the irony of her death. She was killed by a machine resembling a human, and her last earthly words are played on a machine.
As the Terminator leaves, we see it step on the headphones. This recurring image puts an end to the scene and highlights the power of technology run amok.
At 33 minutes into the movie, a meeting is set – the Terminator is about to collide with Sarah Connor.