In this blog post, I will calmly examine, from the perspectives of genre and narrative, whether the ‘eternal sleep’ appearing at the conclusion of the film 「A.I.」 is a simple cessation of function, or the moment of reaching humanity through love.
Introduction
“Blue Fairy? Please…….please, please make me into a real live boy.”
In the film “A.I. (A.I. Artificial Intelligence)” directed by Steven Spielberg, the protagonist David quietly murmurs these lines. What exactly does he mean by ‘real live boy’? This line metaphorically implies that David is not a ‘real human’. ‘A.I.’ stands for Artificial Intelligence, referring to the technology that seeks to implement human learning abilities, reasoning capabilities, perception skills, and natural language comprehension through computer programs. The film’s protagonist, David, appears as a robot equipped with this very AI technology, or as AI itself.
So, can we simply define 「A.I.」 as a science fiction film just because an AI robot is the protagonist? The answer is ‘it’s far too ambiguous for that.’ Then, how can we interpret 「A.I.」 from a genre theory perspective? This article seeks to find that answer by discussing the film in the order of characters, narrative, plot, and mise-en-scène, examining the genre characteristics revealed within each element.
Character
As mentioned earlier, the protagonist David in 「A.I.」 is an artificial intelligence robot, that is, a machine. Furthermore, Joe, the gigolo who spends extended time with David, is also an AI-type male escort robot, and Teddy, who has the appearance of a teddy bear, is likewise a robot. Robots appear as a crucial element throughout the film. Before delving into a full character analysis, it is necessary to first clarify the terminology related to robots.
First, the term ‘robot’ first appeared in the 1920 play R.U.R. (Rossum’s Universal Robots) by Czech author Karel Čapek and subsequently gained widespread use. This word originates from the Czech verb meaning ‘to work’. The term ‘Android’, frequently used alongside ‘Robot’, means ‘something resembling a human’ and refers to robots possessing human form. While sometimes indistinguishable from humans, they are entirely artificial creations and need not necessarily be mechanical. The concept of an android predates that of a robot, with the female artificial being ‘Hadaly’ from Vilier de L’Isle-Adam’s 1866 novel ‘The Future Eve’ often cited as its origin.
Alongside robots and androids, the concept of ‘cyborg’ is frequently mentioned. Strictly speaking, this is not a robot but refers to a being whose human body parts have been replaced or modified with machinery. The protagonists of The Six Million Dollar Man, RoboCop, and I, Robot are prime examples of cyborgs. The term ‘humanoid,’ which may feel somewhat unfamiliar compared to the previous terms, is similar to android but is used to refer to all beings possessing a human-like form, such as humanoid aliens, angels, or primitive humans. Next, ‘Replicant’, which gained widespread popularity in the 1982 film Blade Runner, means ‘replicated being’ and is a new term for humanoid robots that are nearly indistinguishable from humans. Finally, ‘Artificial Intelligence (A.I.)’ is also used to refer to robots that think like humans, but originally it meant computer technology that mimics human mental activity, or systems that successfully implement such functions.
Most films featuring the terms defined above belong to the science fiction (SF) genre. While SF originally referred to science fiction novels, in film it denotes science fiction movies centered on scientific technology. This genre primarily explores technological civilization, and SF films only became a full-fledged genre in Hollywood by the 1950s.
The primary narrative trend in SF films of this period centered on humanity facing crisis due to alien invasion. Subsequently, with the emergence of Stanley Kubrick’s “2001: A Space Odyssey” (1968) in the 1960s, fundamental questions began to be raised about humanity’s trust in technology and human-centered superiority. After the 1970s, the history of SF cinema unfolded less through accumulating genre-specific conventions and more through continuous hybridization with other genres like action, adventure, and horror. Following Star Wars (1977), the mixed genre of action/adventure/SF proliferated, and the fusion of SF and horror genres also became prominent in the 1980s.
Viewed within the broader genre trend, science fiction has adopted two contrasting attitudes toward technology. One is an optimistic perspective that scientific and technological progress will ultimately guarantee the advancement of civilization. The other is a warning about the destructive potential inherent in science and technology. A.I. is a work where these two positions are intricately intertwined. The film depicts a society where technological advancement produces robots like David, ‘possessing human emotions’. This reveals the positive aspect where robots contribute to civilization’s progress by assisting or replacing humans. Simultaneously, the film juxtaposes scenes of a robot scrapyard and humans enjoying the spectacle of robots being destroyed. These scenes expose the ethical issues and violence technology can engender. This duality can be interpreted as the coexistence of Technopoly and Tool-using culture, as mentioned by Harold Innis.
Thus, when examining the film through its characters, it is clear that the protagonists are robots, making it undeniable that 「A.I.」 possesses science fiction attributes. Nevertheless, why can’t this film be simply defined as belonging to the sci-fi genre? Next, I will examine the reason from the perspective of narrative.
Narrative
Before analyzing the narrative, let’s briefly summarize the film’s story. In a future society where science and technology have advanced to an extreme degree, the robot company Cybotronics develops a robot capable of human emotions. This experimental robot is sent to the home of Monica, whose son is in cryogenic suspension due to an incurable illness. In other words, David, an AI robot, enters the family as a substitute for the absent son. David, programmed to do so, calls Monica ‘Mom’ and shows deep affection. However, the situation drastically changes when Monica’s biological son miraculously recovers and returns. Ultimately, David is abandoned by Monica.
Yet David does not dwell on his disappointment. Recalling the story of the fairy tale “Pinocchio,” he believes that if he becomes human, he can once again earn his mother’s love. David’s journey to become human is a series of hardships, and eventually, he ceases to function. Then, after two thousand years have passed, David awakens again in a future society where only fully evolved robots exist. After experiencing a dreamlike day, he falls into eternal sleep.
In this narrative, the core driving force behind David is his affection for his mother—that is, ‘love’. David loves Monica, and this love is portrayed in the film as so sublime it surpasses human love. Paradoxically, the love of a robot modeled after humans is presented as a purer and more absolute form than human love itself. Furthermore, based on conversations I’ve had with others, the most debated aspect of this film is its ending. Many viewers interpret David’s final moment as simply the cessation of his functions as a machine. However, I disagree with this interpretation.
I believe David became human, and I am reluctant to abandon this interpretation.
The first piece of evidence is the narration at the film’s conclusion. In the final scene, David tells Monica he loves her, and Monica, smiling, confesses her love to him. David sheds tears, healed of his past suffering, and quietly closes his eyes beside the sleeping Monica. At this moment, the narration states, “And David fell into an eternal sleep.” The term ‘sleep’ used here is a concept applicable only to humans. Machines do not sleep, nor do they dream. Of course, it’s possible that the phrase “ceased functioning” wasn’t used due to an aesthetic choice. Nevertheless, I wish to imbue this word ‘sleep’ with humanistic hope.
The second reason lies in director Steven Spielberg’s artistic tendencies. Spielberg is widely known as a director who generally favors happy endings. The cessation of a robot’s functions is analogous to death for a human, which is clearly a tragic conclusion. He faced criticism even for ending “War of the Worlds” with a happy ending, despite its overwhelming disaster and despairing plot. Considering this pattern in his previous works, the likelihood of setting David’s complete shutdown as the ending is relatively low.
Of course, a robot transforming into a human is practically impossible. However, since things that defy explanation do occur in the world, I’ll add the caveat ‘practically’ here. What I want to emphasize is precisely the issue of ‘heart’. David was created as a robot possessing human emotions, but he is not an entity that embodies the human heart. Yet, within the film, he is portrayed as a being more pure than anyone else, possessing a heart that loves one person to the very end. Can such a heart truly be called inhuman? Therefore, viewed from a narrative perspective, 「A.I.」 can be interpreted as the drama of a ‘boy’ who holds a noble love for his mother.
Plot
Following the plot’s flow, 「A.I.」 can be summarized as follows.
1. A robot enters a home where the child is absent.
The story’s beginning requires a ‘new encounter’. This is because the story would struggle to develop based solely on existing relationships. The appearance of a new character or entity becomes an event in itself and is advantageous for developing a character-centered narrative.
2. Just as the robot begins to adapt to the family, the absent son returns.
Here, ‘time’ and ‘reversal of circumstances’ are crucial. If the new presence hadn’t yet settled in, conflict could be easily resolved. But when the original figure returns after the robot has already established itself, chaos ensues. This point shapes the audience’s expectations.
3. The son and the robot compete for the mother’s love, and ultimately, the robot is abandoned.
The young child is sometimes portrayed as possessing both innocence and cruelty. At this stage, good and evil are relatively clearly distinguished, and the protagonist faces a once-in-a-lifetime crisis.
4. To regain the mother’s love, the robot resolves to become human and sets out on a journey.
The protagonist sets a new goal amidst despair and begins moving forward again.
5. The robot encounters another robot and they travel together.
The helper’s appearance serves to secure narrative stability and diversity.
6. The robots face the threat of being scrapped but narrowly survive.
Crises during the journey amplify the audience’s emotions and deepen their immersion in the drama.
7. They reach a hopeful destination, only to find despair awaiting them there.
This moment of plummeting from emotional peak to sudden crash is where the audience empathizes most deeply with the protagonist.
8. Yet the robot does not lose hope, and two thousand years pass.
This extreme time jump can be seen as a device aligned with the director’s orientation toward a happy ending.
9. Highly evolved robots recreate the mother for the older robot.
Through this new ally, the protagonist experiences hope once more.
10. After a dreamlike day, the robot feels the mother’s love and falls into eternal sleep.
Having achieved its purpose, the protagonist meets the narrative’s conclusion in a state of peace.
Viewed through this plot, 「A.I.」 possesses the typical structure of an adventure film while also clearly exhibiting the characteristics of a coming-of-age film. The protagonist learns about the world through adventure and grows internally. Therefore, from a plot perspective, 「A.I.」 can be considered a work that simultaneously embodies the nature of both an adventure film and a coming-of-age film.
Cinematography
The production team for 「A.I.」 is exceptionally prestigious. Spielberg wrote the screenplay himself for the first time since 「Close Encounters of the Third Kind」, and cinematography was handled by Janusz Kaminski, who won an Academy Award for 「Schindler’s List」. Editing was handled by Michael Kahn, a multiple Academy Award winner including for “Saving Private Ryan,” while art direction was by Rick Carter. Costumes were by Bob Ringwood, and the score was composed by John Williams. For special effects, ILM led the team, featuring top experts of the era like Stan Winston, Dennis Muren, and Scott Farrow.
The visuals brought to life by this team deliver dramatic visual impact. The climax is the robot execution scene. While bars cast shadows across the faces of David and Joe imprisoned inside, the exterior space erupts in a frenzied celebration. Lights explode, and humans revel in the robots’ destruction. This scene is a dazzling spectacle yet carries intense violence, making it somewhat unsuitable for a children’s film.
Beyond this, the film’s mise-en-scène consistently places robots at the center of the frame. Fantasy elements like holographic fairies and futuristic graphic fairies also appear frequently. Thus, on the level of mise-en-scène, 「A.I.」 simultaneously reveals the attributes of a fantasy film and the nature of a science fiction film.
Conclusion
When someone says, “I saw a movie at the theater today,” it’s often difficult to easily answer the question, “What genre was that movie?” This is because it can feel like a drama, contain comedic elements, and sometimes even bring tears to the eyes. This well illustrates the genre-blending characteristics inherent in modern cinema. Viewed in this context, 「A.I.」 is also a work that defies easy categorization into a single genre.
Although its sci-fi elements are prominent, I see 「A.I.」 as ‘an adventure wrapped in sci-fi trappings and a drama depicting the growth of a being’. This perspective places the greatest emphasis on its dramatic interpretation. I believe all films are ultimately created by humans, exist for humans, and deal with human nature. From this perspective, I consider ‘emotional impact’ the most crucial criterion for selecting films. 「A.I.」 delivered such profound emotion that it left me unable to stop crying long after the film ended. This impact stems not from the protagonist being a robot, but from the dramatic force permeating the entire narrative. Therefore, this film can be redefined as a drama film utilizing science fiction.
