2009 Easton Sv12 Reviews

Tron

The computer programmer Kevin Flynn tries to conquer the Master Control Program Company Encom, to avenge its CEO Dillinger, who stole his research. The Master Control, however, is gradually evolving and is likely to encompass the entire global system, to become a real threat. Flynn finds support in Lora and Alan colleagues: it has also invented a new program, called "Tron," to penetrate the system and bring it down. Flynn, however, is hit by a laser beam to the experimental study of Encom and in this way can be found inside the virtual universe: here must fight alongside Tron to defeat the tyranny of the Master Control.

Now that the sequel

is about to invade the cinema, is rightly wonders what sense it makes to recover an authentic piece of cutting-edge buried in the dust of the past as Tron, which is likely (as has happened, see the first link below) of not being understood by new generations of viewers have grown accustomed to many other technological marvels. A product dated then, but that actually have something to teach, to the extent that it is contextualized when it was produced in yeast and that disturbed it.

It can seem surprising today the idea that a studio like Disney has packaged the which appears as a product sectarian and calibrated to a wavelength of a youth computer: Unlike today's titles that you can never withdraw from the well to explain the terms and staged the coordinates of the universe, not Tron is particularly concerned with these issues and at times seems to speak a language that is for the few. Clearly the fund underlying structure quite adventurous classical, with the group of rebels who must defeat the oppressor of the moment, but overall the collection is elusive and not inclined to universalism of the blockbuster film .

Tron, after all, is born at that particular historical moment in which New Hollywood is rebuilding the imagination, bringing to the fore hidden language and reality which might otherwise be marginal and is clearly the son of Lucas and positivism of the success of Star Wars . In retrospect, however, is more interesting to note the mutual influences of the film by Steven Lisberger had with the saga of the Skywalker because, although the basic idea is a paraphrase of the genuine struggle of the Rebel Alliance against ' Galactic Empire, in fact there are some who find the same visual Lucas will resume in the most recent "new trilogy" stellar, particularly the idea ship of galactic and design of cities (where we see the push and very little avant-garde classical impressed by the conceptual artists Syd Mead and Moebius).

Just the iconography, however, is the real battleground on which Tron is playing his game, past and present: in fact, seen again today, the film is striking not for dating are the effects, but that the world that creates it has no real ambition to be defined, or rather wanted to mark a difference and marked with the universe "outside". It 's still too early for comparisons, but from the pictures leaked so far seems that precisely this gap has been narrowing in the sequel (which, moreover, here we are expecting great things, criticism is not preventive), the illegitimate daughter of a conception of the special effect as a photo-realistic and therefore credible, despite its implausibility.

Again Tron based on existing foundations, which are those of the psychedelic culture: the virtual world is not an alternate universe that wants to be credible, but instead a fantastic bed that constantly rewrites itself according to logic difficult to define and flowing into the pure pursuit of the vision. As the trip final 2001: A Space Odyssey , folded to a logic precisely Lucasian, the altrodove Flynn is a real "trip" sensory sufficient unto itself as raison d'etre of the story. It therefore treats that sense of wonder that modern logic of the special effect has often lost in the name of obsession photorealistic.

the gap which then passes between the mathematical logic of the "programs" and codes necessary for the establishment of the virtual universe, and truly fantastic and immaterial space that is generated from this is the real point of escape allows the film to overcome their Outdated: Tron , in short, is not the result of a genius and an outdated technique, but contrary to well-defined stylistic choices and not replicable. In addition to a time when imagination still intended to ask for power and control systems based on the overthrow of matter and imagination.

It is no coincidence that the Flynn Jeff Bridges (choice of casting intelligent and terribly exciting in the light of future exploits of the actor as Starman and The Big Lebowski ) appears as a permanent alien, out scheme is in the real world (where a outsider) that the virtual (the only "creative" among many programs): is dedicated not to him the title, but it relegates the role of the interface to the viewer along the journey that will bring the reality on the fringes to become central to the new imagery.

Basically this is what Tron wants: to be recovered and understood in its essence, beyond the apparent ease and preconceived.

Tron

(ibid.)

Director and Screenplay: Steven Lisberger (story by Steven Lisberger and Bonnie MacBird)

Source: U.S. 1982

Length: 96 '

Tron: the situation

Interview with Steven Lisberger

IMDB page

Tron Wikipedia

I Eric Tan posters