Most paranoid delusions are intricate, but this is brilliant

The irrevocable change in Sarah’s life is marked by the appearance of Dr. Silberman. His demeanor demonstrates his view of work - a yawn and a weak smile, the briefest of introductions:

SC: “Are you a doctor?”

Dr. Silberman: “Criminal psychologist.”

A tiny, but powerful detail here is Traxler’s disgust at Silberman’s indifference. Through familiarity to this line of work, the doctor’s responses have become ingrained, almost automatic, or robotic. This is subtly critiqued in the following scene, as the Terminator also attempts to pass for human on the surface.

We see the reason for the Terminator’s disappearance. Damage from the crash compromised its ability to function, resulting in the need for maintenance. The sequence is a fascinating mix of science fiction, gore and artistic craftsmanship.

The scene is filmed using a mix of animatronics and live action shots. The Combination of atmospheric, synth score, and the deliberate, surgical movements of the Terminator, creates a disturbing body horror sequence, reminiscent of Cronenberg works such as Scanners (1981) Videodrome (1983) and The Fly (1986).

During the eye cutting scene we see the jump between special effects and live shots. Though the difference is noticeable, within the context of the film, it works. The jerky movements and waxy skin, highlight the feeling of artificiality. We are watching a machine repair itself in an attempt to appear human. The limitations of the technology of the time actually adds to the scene, highlighting the otherworldliness of this film’s universe.

After pulling out its own eyeball, the Terminator takes a moment to check its hair. As an infiltration unit, the Terminator is meant to pass for human, and therefore displays standard human behaviors. This concern with appearance is a nice touch of understated irony.

“Technically speaking, he’s a loon”

During Reese’s interrogation, details emerge about his military background, further history of the future, and his naivety about the people of the past. He is from a post-apocalyptic society in which survival takes priority over everything. There’s no time for political correctness or subtlety, everything is given up front. This is an admirable quality in Reese’s character, but also the very thing which works against him.

Dr. S: “How are you supposed to get back?”

KR: “I can’t. Nobody goes home. Nobody else comes through. It’s just him and me.”

Reese’s fatalistic response to this question highlights the gravity of his decision. As horrific as the future was, it contained his friends, family, and for what it was worth, his home. The act of traveling through time has rendered him dead to those he once knew.

This scene puts the spotlight on Reese, who is the most tragedy-stricken character in the Terminator universe.

The interview scene plays out with a double meaning. In one sense, we gain further knowledge of the future, but in another sense, Silberman plays the part of critic. In an example of explaining much with little, Reese answers Silberman’s questioning of the time machine:

KR: “I didn’t build the fucking thing!”

This shows a flaw in Silberman’s thinking. His mind is already made up that Reese is insane, and regardless of how believable the story is, he will never be convinced. The irony here is that Reese is telling the truth, and the psychologist is incapable of detecting this. His resultant diagnosis – ‘he’s a loon.’

“I’ll Be Back”

The next scene is an all-time classic, and one which elevated Arnold Schwarzenegger into a global superstar.

Standing at the front desk, the Terminator requests to see its target:

Terminator: “I’m a friend of Sarah Connor. I was told that she’s here. Can I see her please?”

This line seems simple, but is a great example of tight writing. When analyzed, it reveals a lot about the Terminator’s knowledge of human psychology:

“I’m a friend of Sarah Connor.”

The first part shows an understanding of human relationships, how we demonstrate care and affection, especially those close to us. As Reese mentioned earlier, Terminators are infiltration units, so the need to pass for a human is key to completing their mission. Therefore an in depth understanding of human psychology is required.

“I was told that she’s here.”

In the second sentence, the Terminator constructs a simple back story as to how it gained this information. This shows an understanding of narrative and its effectiveness in human communication. In addition to this, both of the above statements are lies. This shows it is not affected by concepts of morality.

“Can I see her please?”

Finally, it asks to see Sarah. Such polite behavior seems absurd coming from an unstoppable killing machine, however simply asking to see her would be the most efficient way to gain access to the target. This shows the Terminator’s knowledge of humanity’s inability to discern the truth from lies. It tries this approach not only because it is the most efficient, but because humans are prone to error.

In this case, the approach doesn’t work and the request is denied. From what we’ve seen before, we can assume that the terminator will immediately kill the officer at reception, however our expectations are subverted:

The innocuous phrase combined with a monotone delivery makes it all the more menacing. Something terrible is about to happen.

It’s here, during the Schwarzenegger’s most memorable scene, that it’s worthwhile to analyze his performance as the Terminator.

Though Schwarzenegger’s acting ability is often ridiculed, this role could not have been played better by anyone else. It’s not only a great performance, but it transcended the film, turning Schwarzenegger into household name.

But what is it about this particular character which established his superstardom?

Had the role been portrayed by a classically trained actor, they would most likely have affected exaggerated gestures or ‘method’ tics to indicate artificiality. We would have seen an actor showing their interpretation of a robot.
In Schwarzenegger’s case, the qualities which he possesses in real life - his stoic mindset and tenacious, singular drive, are already robotic in nature. The result onscreen is a blankness of delivery, imposing physical presence and clinical handling of weaponry. The combination of these elements makes a machine so convincing, that it is legitimately terrifying .

Back

As the Terminator leaves, the tension is palpable. We know it will return, but in what manner? Much like at Tech Noir, the suspense is drawn out with subtle details. The focus on the cop writing records raises the suspense to an unbearable level, then the Terminator makes its entrance:

The easy route not available, we see the Terminator in assault mode. The first cops mowed down are holding coffee, showing how unequipped they are. We then see other cops fight back with heavy weaponry. They are completely unaware that the assailant is not human, and cannot be killed by their weaponry. This echoes Matt’s earlier demise in that those standing their ground are doomed.

We see the Terminator’s view as it kills a police officer by shooting through a wall. This shot is evidence of a detailed understanding of ballistics: trajectory, timing and impact. Ironically the Terminator is at once both smarter and less intelligent than humans – it can calculate physics in the middle of a gun battle, but is unable to register the sarcasm of street punks.

In another display of combat effectiveness and invulnerability, we see the Terminator dual wield weapons while being shot at. The impact of bullets do nothing to impede its ability to kill.

We are watching an unstoppable killing machine. It’s stronger and smarter than any human, but the irony is that it is a creation of man. As it walks through the flames, we are reminded of the opening crawl: the machines ‘rose from the the ashes of nuclear fire’.

The Terminator is a manifestation of mankind’s hubris, coming to destroy its creator.

Any doubts regarding Reese’s sanity are dismissed by his rescue of Sarah. As the pair escape, we are left with the sounds of screams amidst burning ruins. Though they have survived the deadly attack, they are living on borrowed time.

Recurring Future Nightmares

During the brief time the couple have in the cave, we get an insight into their characters, both lost and scared in two different ways. Neither are in a world that they know, and neither can return to what they once knew.

While discussing time travel, the following exchange takes place:

SR: “What’s it like, traveling through time?”

KR: “White light, pain, like being born maybe.”

The explanation is minimal, but means a lot. Allusions to birth, pain, technology, fear, life and death. The very act of living is a fight, an unwinnable battle that must be fought through the entirety of existence. That’s what it is to be human.

As Sarah dresses Reese’s wounds, a connection is forged between them.

For Reese, Coming from a ruined future, such a level of care and attention is alien to him. His explanation of the bullet having ‘passed through the meat’ is evident. His body is a tool, disposable, like a machine.

As they discuss Sarah’s unborn son, we get shades of Hitchcock’s Rebecca (1940), in which a character’s spectral presence hangs heavy over the film. Kyle’s explanation further highlights this:

KR: “You trust him, he’s got a strength. I’d die for John Connor.”

He then goes on to describe his reason for volunteering:

KR: “It was a chance to meet the legend. Sarah Connor. Who taught her son to fight, organize, prepare from when he was a kid.”

Sarah’s response is understandable:

SC: “I don’t want it! Any of it!”

In response to this, Reese gives the message sent by John, a warning through time:

KR:“Thank you Sarah for your courage through the dark years. I can’t help you with what you must face, except to say that the future is not set. You must be stronger than you image you can be. You must survive or I will never exist.”

This idea is at the very heart of the movie, ‘you must stronger than you imagine you can be.’ Regardless of life’s difficulties, our urge to survive demands that we never give in to helplessness.

This idea of defiance is then demonstrated in the next sequence.

Infiltration

The entire infiltration sequence is superb. It hasn’t aged at all, evoking a Ridley Scott-esque future that feels organic and lived in (Alien 1979, Bladerunner 1982). We see the minutiae of the future:

This is not a meaningful existence, it’s survival. Despite the harshness of this existence, humans continue to push onward, their need to live outweighing the hardships that they are facing.

We then watch as a Terminator is revealed and begins an assault on the bunker. The intensity of the scene is heightened by the loud combat and screams of people contrasted against the silence of the Terminator.

Reese battles against the Terminator to no avail. As the photo burns before his eyes, we cut back to a sleeping Sarah, her fate inextricably intertwined.

Multiple Choice

At the same time, the Terminator goes through Sarah’s address book. From the pale color and circling flies, we see that its living tissue has started to decay. This leads to questions from the cleaner outside the apartment. What’s interesting here is that we see how the Terminator formulates responses:

The Terminator’s response echoes the language used by the street punks it first encountered. If it’s not terrifying enough already, we can see that it is learning.

“I came across time for you”

We see Sarah and Reese enter a motel, their responses showing their differences in mentality: one thinking of a shower, the other looking for escape routes.

As Reese goes out for supplies, we are treated to another horror moment: the Terminator mimicking Sarah’s mother on a call.

Seeing the Terminator utter the above words sounds at once both absurd and terrifying. A question here is how the Terminator would know how to emulate the mother’s speech patterns; however this is answered by Sarah’s odd look after the call. Something wasn’t right. Little does she know that she has set the endgame in motion.

Upon Reese’s return, we see Sarah trying to be humorous, having almost grown accustomed to her situation:

SC: “What have we got? Mothballs… corn syrup… ammonia. What’s for dinner?”

KR: “Plastique… it’s a nitroglycerin base. It’s a bit more stable. I learned to make it when I was a kid”

The sarcasm flies right by him, and reveals a tragedy in mankind’s future. The ability to laugh, even in the darkest of times, is one of the elements that makes as human. This has been lost in the war against the machines.

As the pair make pipe bombs, we witness a scene similar to that shown in Aliens (1986), a couple bond over weaponry. There is a great mix of attraction, fear and determination at play here, and it brings the characters closer together. Once finished, the pair sit in the pale light, unable to sleep. Their conversation leads to a connection between two lost souls. Reese opens up and reveals his feelings for Sarah:

At this point, their relationship is realized. Sex scenes were commonplace in horror movies of the time, mainly serving to boost audience numbers through titillation. In this scene however, it has emotional depth and echoes the themes of the movie. The focus on clasped hands is representative of humanity’s fragile grip on life, the urge to live even in the darkest times. This is reflected in following shot of the Terminator approaching their motel. They cannot escape the harshness of reality, but the urge to live drives them onward. In meeting this urge, they find something in each other:

For the briefest of moments, we see Reese smile. Despite the horror that brought them together, they have found humanity in each other.

Shorty afterwards, the Terminator arrives, and the final chase is on.