L'Homme bicentenaire

the emotions are pillars of this lovely modern fairy tale. because it is only version of the old myth of Pygmalion. because it could be an useful reflection of the struggle of different minorities for be accepted. because it represents a nice meeting between Isaac Asimov text and the art of Robin Williams. it is strange to define it more than trip in future and to remember old lectures. it preserves the flavor of childhood. its dreams, stories, desires and projects. its bitter steps to the self definition. its sweet romanticism. its silhouettes from a time of precise rules and noble feelings and the chosen. humor, delicacy, few splendid scenes, version of Pinocchio and, maybe, for a part of its public, homage to Collodi.in more measure than adaptation of Asimov. a nice film. and embroidery of emotions. .

Owing to the fact that it is based on an Isaac Asimov story, `Bicentennial Man' turns out to be a more interesting and meaningful film than both its advertising campaign and its own opening section would indicate. The caveat for those seeking out a fun film for the entire family is that this movie, though initially sold as a warm cuddly comedy in the tradition of say `Mrs. Doubtfire,' actually deals with some very heavy and heady issues like sexuality, aging and dying, which may make it less-than-ideal viewing for young children.

The first section of the film is, by far, its weakest. In 2005, the wealthy Martin family receives delivery of a brand new servant android (Robin Williams) who, almost immediately, begins to display a remarkable range of human emotions and interests. Thus, we are set up for yet another in a long line of predictable tales (i.e. `Harry and the Hendersons,' `Stuart Little') in which a family comes to adopt a strange, not-quite-human creature, welcoming him in as one of their own. Indeed, in the film's early stages, there is no shortage of either bland humor or drippy sentimentality as Andrew, the android, ingratiates himself with all but one of the Martin household. The `wit' in the film consists, basically, of endless jokes about how Andrew takes all idioms at literal face value, a running gag that is, finally, as unoriginal as it is wearying.

Then, however, just as we are about to give up hope in it, the movie becomes more intriguing. Rather than staying within the context of the present life of this one family, the screenplay begins to move ahead in time, exploring Andrew's gradual growth toward total humanity, while the initial family grows up and eventually dies off. Actually, despite how one may feel about the film itself, one must admire its boldness and audacity, for it is not often that, in a film billed as a mass audience comedy, all the main characters pass on to their heavenly reward at one point or another – but, then again, how many comedies span a two hundred year time period? `Bicentennial Man' obviously has more on its mind than mere fish-out-of-water buffoonery, as it becomes an often-elegiac reflection on the transience of life, the meaning of being human and the search for societal acceptance. The mood of the film is remarkably hushed and reflective at times, which again might make it slow going for the modern mass audience more conditioned to a faster pace and giddier tone, especially in a Robin Williams film (though, of late, his films have certainly been taking on a much more somber quality, vide `What Dreams may Come,' `Patch Adams' and `Jakob the Liar'). There are times when `Bicentennial Man' seems overly impressed with its own self-importance, yet one appreciates its refusal to settle for the easy path of cheap comedy and upbeat sentiments. There is, indeed, a real sadness to much of the film.

Special acknowledgement should be made of the superb art direction, set design, costume design, makeup and special effects that together give the film its understated and believable futuristic look. In addition, James Horner's melancholic symphonic score, though a bit lubricious at times, does create an atmosphere of contemplative seriousness that perfectly matches the tone and purpose of the film.

`Bicentennial Man' may not turn out to be what you are looking for when you first seek it out, but, if you approach it with an open mind and a certain degree of tolerance and indulgence, you may be pleasantly surprised and, perhaps, even rewarded.

Most people who have seen this movie are of the opinion that it was average at best. Indeed there is no complicated plot, no big action scenes and a predictable ending but there is a Story. It's Andrew with his Box of Chocolats, simply going through life searching for what eludes him and what we generally take for granted - humanity. The characters along the way are well acted - in particular the robot creator and his ditsy assistant. This movie is a tear jerker as Andrew's friends come and go and lifetimes pass him by without him really comprehending it all. The only real failings were the large gaps in time and how Andrew came about - but then it's difficult to compress 200 years into 1 1/2 hours. If you enjoyed Azimov's books as much as I did, then this movie is for you. Far better in my opinion than IA or I Robot who also took their cues from Azimov.

I heaven't read the book, but BICENTENNIAL MAN is a very touching and heartwarming movie about a house-robot (Robert Williams) that begins a 200-year journey to become and to be legally recognized as a human. During his journey, he has to face the fact and live with it that all loved ones around him grow older and eventually die while he is immortal.

I think that this was one of Robin Williams' best performances ever, if not the best. He proves that he can either play a 'funny wacky' character but also a serious character that will touch the hearts of the viewers. And this movie does just that.

I like the purity and the innocence of the story and I wonder why this movie has such a low rating. It's a must see for all open minded people.

BICENTENNIAL MAN (1999) ***

Starring: Robin Williams, Sam Neill, Wendy Crewson, Embeth Davidtz, and Oliver Platt Directed by Chris Columbus. Running Time: 133 minutes. Rated PG (for mild language and some sex-related material)

By Blake French:

Chris Columbus is very good at directing tearjerkers. He has a history of constructing such movies as "Stepmom" and "Mrs. Doubtfire." "Bicentennial Man" is being misadvertised as a humble family comedy. Although it starts out unsatisfying, the film gradually becomes more and more penetrating as we discover the film is really about inner emotions, the changing of times, how people change over time, and the meaning of life from an original point of view. "Bicentennial Man" is a sweet, touching production with lots of heart and a shapely message.

At first "Bicentennial Man" looks to be about a futuristic family who buys an android robot that is supposed to do housework and serve them. The family of four includes two children, one named Little Miss, and the parents who are called by the name of Sir and Ma'am. They adopt Andrew expecting him to be similar to all the other androids in the area. Nearly every household has one. However, Sir soon notices certain features about Andrew that make him unique, different from any other android he has ever seen. Andrew occupies creativity and emotional personality, elements that these robots are presumed not to contain.

The film doesn't contain a good an introduction to the family who adopts Andrew, which is mainly the reason why I was never entirely concerned for the characters. But the reasoning behind the lack of focus on the family is due to the fact that "Bicentennial Man" isn't about the family who buys Andrew, but a narrative of Andrew himself.

A running flaw in the film is our foundering curiosity that only grows more ponderous as the script progresses. The audience desires more information about why Andrew is so different from the other robots. There are obvious reasons, sure, but what I wanted was an explanation of why he is special. A lust for information that is never appropriately granted.

The film skips ahead a generation or so. Sir and Ma'am age and Little Miss grows to be a full grown woman. Many things change for Andrew. He begins to wonder what lies beyond the likes of his household. He longs for emotional reactions to take place on his face and the concept of freedom. Sir has taught Andrew about death, sex, love, humor, and time. He gradually wants more and more independence. This is where Andrew starts becoming interested in turning from a mechanical being to a biological being.

The age advancing make-up is believable and awe-inducing. I could hardly trust my eyes that Sam Neill wasn't an old man in the movie. However, although I can see that the filmmakers had no other reliable option, I disliked the jumps in time the it takes. The time gaps force us out of massive plot pieces, some of which are important to the character development.

There are some really funny moments in "Bicentennial Man." Most of them appear when the picture becomes a bit emotionally heavy, in order to relieve such tension in the audience. This is a wise choice in the writer's part; the viewers who do mistake this movie as a family comedy will gain some satisfaction from these insulated humorous moments.

I wanted more information on how the robot Andrew gradually becomes ''human.'' I felt cheated out of a lot of decent, noteworthy material here. I felt this way because the scenes where we do have the privilege to see Andrew reinvented are wonderfully inventive and interesting. The film should have leaned towards that material a little more.

The movie features super charged performances by the entire cast. Robin Williams offers an emotionally accurate acting job that brings the confusion and imagination of the android Andrew to life. The supporting cast is also filled with fine performances with Sam Neill, Wendy Crewson, Embeth Davidtz, and Oliver Platt.

Even though I can admit that "Bicentennial Man" contains several flawed motives, I still was a little surprised that the film opened to many negative reviews. This isn't a bad movie, just a differently anticipated one. The movie sets up its effective conclusion from the very beginning; it is the only logical climax for such a story. Although it leaves viewers with a sense of well-being, I thought it posed too many spiritual and biological questions. Overall, however, the movie is a well-depicted idea that deserves more appreciation from audiences than its receiving.

Brought to you by Touchstone Pictures and Columbia Pictures.