An Undisputed Classic Film (Tech) Noir.

Rating: 10/10 (12 April 2014)

*Possible Spoilers*
The fact that James Cameron's low budget 1984 breakthrough film, The Terminator is an undisputed classic of 80's cinema and cinema in general is just that, undisputed. It is however, one of a handful of first films that may be bettered by its sequel, in this case Cameron's 1991 epic, big budget follow up, Terminator 2: Judgement Day. For me the second film had always been my favourite of the two (I try to ignore the rest) but on re- watching the original recently I have a renewed love of the film. It's grittiness and dark tone, devoid of humour is very refreshing in this sanitised PG-13 age of Hollywood that we now live in.
Arnold Schwarzenegger is unrelentingly menacing as the titular killer cyborg from the future and it's a stunningly well paced film. It's very much a product of the 80's with its garish fashion and big hair but that's in no way a bad thing as it's setting is very much an integral part of the plot. T2 is grander, more epic and still near flawless but I fear it suffers from too much exposure if there can be such a thing. It's been on TV a million times and released more times on various home video formats than almost any other film and is maybe a little too much in the public lexicon to be viewed outside of itself and it's own reputation. The original has a lower budget feel that gives it an almost indie quality that has done it no such harm. Set over the course of two days and nights there is a greater sense of intimacy with the first film and a dark tone that's very film noir (or should that be Tech Noir?).
Schwarzenegger, in only his second major role, has only a handful of lines but commands the screen with a presence that sets him apart as one of cinemas truly frightening villains. When you consider that both OJ Simpson and Lance Henriksen had been considered for the role prior to the Austrian Oak it's lucky that Cameron made such an inspired casting decision and it would be interesting to peer into an alternate universe and see what the other two actors would have brought to the role.
Linda Hamilton shines as Sarah Connor, the T-800's timid, shell-shocked target and by film's end it's great to see her transition into something that more closely resembles (at least mentally) T2's ripped killing machine mom. Michael Biehn also gives a superb, understated performance as the battle-weary human soldier sent back to protect Sarah. The sense of impending doom he conveys whilst never straying from his mission adds immensely to the film's pre-post-apocalyptic theme.
There are many great plot devices and technical flourishes that I could mention such as the idea that Kyle is the father of the man that sent him back to the past in the first place, a mind bending temporal causality loop that gives food for thought and debate.
On the technical front the cinematography, iconic score and soundtrack and tight editing are all first rate. One particular scene representative of these aspects so finely melded by Cameron's deft hand is the scene where Sarah and the Terminator first meet. As the cyborg walks through the Tech Noir nightclub and approaches the table where Sarah sits waiting for the arrival of the LAPD, the film shifts into a dreamlike slow motion as Sarah knocks a bottle onto the floor, bends down to pick it up just long enough for the T-800 to miss her as he passes. The 80's rock music is now muffled by the dilation of time as the score comes in, Sarah gets up and sees not the cyborg but Kyle staring at her from across the bar oblivious to the fact that her hunter has now doubled back and is about to see her. Just as the slo-mo tension reaches a climax Kyle sees what Sarah hasn't as she lifts her gaze to the machine as he pulls out a gun, Kyle does the same and we kick back into real-time and all hell breaks loose. This level of tension is maintained for the film's duration and marks it as one of cinema's most efficient thrillers.
We've since seen what Cameron can do with huge budgets and established effects houses and there's no denying that he's more than made his mark on the movie world. However, one can't help but think that ever since he declared himself King of the World, his films, quality wise at least, have diminished. I still lean towards T2 as the more personally fulfilling entertainment spectacle of the two films but back in 1984 with very real limitations made worse by on-set woes, problems with studio heads and the lack of any prior reputation, Cameron made best of what he had and that estimated $6.4 million budget was stretched further than anyone could have imagined. He ended up giving us a classic film of such quality that it made sure that the audience, like the Terminator himself, would indeed be back.