|Lowest Recommended Age:||4th - 6th Grades|
|Profanity:||Some four letter words|
|Diversity Issues:||A theme of the movie in metaphor, but few minorities represented|
|Movie Release Date:||1999|
Think of it as Pinocchio played by C3PO from “Star Wars.” Robin Williams plays “Andrew Martin,” a robot who wants to be human, in this adaptation of a story and book by Isaac Asimov.
In “the not too distant future,” a robot is delivered to the magnificent home of the Martins. He steps out of the box and asks, “Are you one’s family?” When the little girl (Hallie Kate Eisenberg from the Pepsi commercials) mispronounces “android” as “Andrew,” that becomes his name. When the other daughter is cruel to Andrew, her father (Sam Neill) tells the family that “as a matter of principle, he will be treated as if he were a person.” Although the family elects not to activate the “personality chip,” they see that there is something special about Andrew’s wiring, a spark of consciousness, creativity, and yearning. Mr. Martin promises to help Andrew become all that he can.
This is fine when he is teaching Andrew about history, biology, and even humor, and when he wants to be adapted so that he can show more expression in his face, but less fine when Andrew wants freedom. And he is uncomfortable with his growing affection for Andrew: “You can’t invest your feelings in a machine.” Martin’s understanding daughter, “Little Miss,” (Embeth Davditz) does not hesitate to care deeply for Andrew, and remains close to him all her life.
As Andrew lives on past the lives of his original family, he stays close to their descendants, especially “Little Miss’s” look-alike granddaughter, Portia. He uses the latest technology to provide himself with skin, hair, a neural sytem, a digestive system, and finally, to become fully human, mortality. Just like Woody in “Toy Story 2,” Andrew has a choice between pristine immortality and a limited, uncertain, but deeply engaged existence.
This movie gives families a good opportunity to talk about what makes us human. Why did Andrew’s makers want to remove what made him special? Why did Andrew want to find others like himself? What do you think made him different? When do you think he became human? When he created something? When he wanted freedom? When he felt love? When he allowed himself to grow old and die? Why did he stop referring to himself as “one?”
Why didn’t some people in the family like Andrew? Why didn’t Andrew like Portia at first? Why did he want to be with her, when he didn’t like her? Do you think that’s what life will be like in the future? What would it be like to have a robot in our house?
Talk about the origins of the names “Portia” and “Galatea.” Portia was the heroine of Shakespeare’s “The Merchant of Venice,” who makes the famous plea about the quality of mercy to Shylock. Andrew’s plea to be declared a human, though, is more reminiscient of Shylock’s entreaty for equality: “Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die?” Galatea is the name of the mythical statue whose sculptor fell in love with her. A kind goddess granted her life, so that they could be together.
Parents should know that there is some mild profanity and sexual references that include a “facts of life” discussion, Andrew’s adaptation so that he can have sex (but not children), a post-sex conversation in bed, and one of the most romantic descriptions of the sex act ever written. There are also ill-behaved and surly children whose behavior is not curtailed by the family.