Man has invented the ultimate machine, a machine that can love. And in a future where one needs a licence to have children, what better way to test a new “toy” by trying it out on a couple who have endured a trauma involving their real life son.
Stanley Kubrick laid the groundwork for this film, but he died before shooting began. It was then taken over by Stephen Speilberg, who dedicated the film to Kubrick.
David is an artificial life form or “mecha” who has the ability to love. But when his “Mommy” is re-united with her real son, who taunts and teases him, he is dumped in the wilderness to fend for himself.
The story follows David’s quest to become a real-life boy, so that “Mommy” will love him as much as her real son.
It is not a boring film, but it is fairly slow paced. It is one you have to be in the mood for. The special effects are convincing though, particularly the scene in the woods with the delapidated mechas scouring for discarded spare parts.
W atch out also for the William Butler Yeats references in the film.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.
The Stolen Child -WB Yeats
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