Film critics might argue that way back in 1981 Brainstorm first pioneered the notion of virtual reality for the multiplexes. Come 1999, the Wachowski Brothers heralded superior special effects in The Matrix, setting the benchmark for CGI in the 2000s. However, The Lawnmower Man (1992) is still considered among many cult and cyberpunk fans as the film that defined the term virtual reality for the big screen.
The Lawnmower Man can be hailed as an adult Tron for the 1990s; Tron buffs will immediately notice the similarities between Pierce Brosnan's glowing virtual reality outfit and Jeff Bridges's glittering suit in Tron. Whereas the latter was targeted at a Disney audience, The Lawnmower Man was surely aimed at a maturer audience as it featured the big screen's first cybersex scene. The producers were probably intent on cashing in on the arcade game aficionados of the early 1990s, with great emphasis on the characters putting on their virtual reality helmets, pressing a switch and initially immersing themselves in a harmless computer-simulated game, walking through rooms, liquidating enemies and losing themselves in a three-dimensional wonderland.
The film's poster tagline: God made him simple. Science made him a God speaks volumes of Mary Shelley's Frankenstein as The Lawnmower Man plays with that tried and tested premise of a daring scientist who gives life to a creature cobbled together from dead body parts. However, this time, the dead body parts are very much alive in the guise of Jobe Smith, the town's shy simple gardener, who has the mental age of a six year old.
The underlying motion picture's message of the McDonaldisation of today's world has never been more relevant - it shows the dangers of accelerated learning that is prompted by the usage of powerful drugs. These drugs which Dr Lawrence Angelo (Brosnan) injects into Jobe transform him from a simpleton to a strong human being. Evoking Seth Brundle's (Jeff Goldblum) horrific metamorphosis in The Fly (1986), Jobe has no control over his powers and develops a God-like complex that leads to devastating consequences. Like The Fly, The Lawnmower Man brings up the theme of fusion between a man (Jobe) and a woman (Marnie played by Jenny Wright) but this time through the intervention of virtual reality.
In an interview in the June 1992 edition of film magazine Flicks, producer Edward Simons said: "This film is unique in that it adds a new element, virtual reality to audiences' proven appreciation for Stephen King's brilliant brand of suspense." Almost nothing of Mr King's short story ever made it to the final script; in turn Mr King sued the producers to have his name erased from the credits, disassociating himself from the production. Many Stephen King fans who are quick on the mark, will unravel several plot dénouements so prevalent in other King novels.
One might even add that the paranoia spurred by the titular shady Shop government agency has been carved in this post 9/11 age where each and every one of us is a suspect.
The film's screenplay is not devoid of messianic themes - from the symbiotic Eye of God on the film's poster/DVD cover to Jobe's godly desire to merge with all. The sequel teaser ending hinges around this "master of all" concept when Jobe merges with the international phone network system - clearly a metaphor for the spiritual omnipotence where everything becomes one.
The acting by the leads is hardly top notch but kudos to Angel Studios, who along with XAOS (pronounced Ka-os) created the startling effects. In fact, the British tabloid newspaper Sun's strap line read: "Dazzling special effects, even better than Terminator 2". The attention to CGI detail is evident in the sequence in which Jobe enters a virtual game simulation with Peter (Austin O'Brien) and the final showdown when Jobe goes head to head with his creator.
It is interesting to note that director Brett Leonard would follow suit with another virtual reality-infused actioner, Virtuosity (1995), starring Denzel Washington and Russell Crowe. This film was adapted from the Dean Koontz best-selling novel Hideaway and, ironically, just like The Lawnmower Man, Virtuosity suffered some negative publicity after author Koontz lambasted the film in the press and sued to have his name removed.
Pierce Brosnan seemed to be in some sort of limbo when he starred in what is now considered a B-movie, but he quickly came back from oblivion three years later donning the tuxedo as none other but 007 in Martin Campbell's GoldenEye (1995).
Jeff Fahey, who is starring in the fourth season of Lost (being broadcast next year) as the mysterious "other" Jacob, initially started in television productions. Perhaps he is best remembered as the arms dealer who blows Crockett's (Don Johnson) black Ferrari Daytona Spyder in Miami Vice.
Soon after The Lawnmower Man was released, the concept of alternative realities featured in a succession of films - from Johnny Mnemonic (1994), Strange Days (1995), Dark City (1998), The Thirteenth Floor (1999), Existenz (1999) to The Matrix trilogy (1999).
It is a pity that the sequel: The Lawnmower Man II: Beyond Cyberspace (1996) lost the spirit of its predecessor.
The way virtual reality was presented in the original film was a precursor to all that is happening in this era - from Big Brother's simulated world, to web blogging, from online gaming to virtual cities.
The Lawnmower Man can be hailed as an adult Tron for the 1990s; Tron buffs will immediately notice the similarities between Pierce Brosnan's glowing virtual reality outfit and Jeff Bridges's glittering suit in Tron. Whereas the latter was targeted at a Disney audience, The Lawnmower Man was surely aimed at a maturer audience as it featured the big screen's first cybersex scene. The producers were probably intent on cashing in on the arcade game aficionados of the early 1990s, with great emphasis on the characters putting on their virtual reality helmets, pressing a switch and initially immersing themselves in a harmless computer-simulated game, walking through rooms, liquidating enemies and losing themselves in a three-dimensional wonderland.
The film's poster tagline: God made him simple. Science made him a God speaks volumes of Mary Shelley's Frankenstein as The Lawnmower Man plays with that tried and tested premise of a daring scientist who gives life to a creature cobbled together from dead body parts. However, this time, the dead body parts are very much alive in the guise of Jobe Smith, the town's shy simple gardener, who has the mental age of a six year old.
The underlying motion picture's message of the McDonaldisation of today's world has never been more relevant - it shows the dangers of accelerated learning that is prompted by the usage of powerful drugs. These drugs which Dr Lawrence Angelo (Brosnan) injects into Jobe transform him from a simpleton to a strong human being. Evoking Seth Brundle's (Jeff Goldblum) horrific metamorphosis in The Fly (1986), Jobe has no control over his powers and develops a God-like complex that leads to devastating consequences. Like The Fly, The Lawnmower Man brings up the theme of fusion between a man (Jobe) and a woman (Marnie played by Jenny Wright) but this time through the intervention of virtual reality.
In an interview in the June 1992 edition of film magazine Flicks, producer Edward Simons said: "This film is unique in that it adds a new element, virtual reality to audiences' proven appreciation for Stephen King's brilliant brand of suspense." Almost nothing of Mr King's short story ever made it to the final script; in turn Mr King sued the producers to have his name erased from the credits, disassociating himself from the production. Many Stephen King fans who are quick on the mark, will unravel several plot dénouements so prevalent in other King novels.
One might even add that the paranoia spurred by the titular shady Shop government agency has been carved in this post 9/11 age where each and every one of us is a suspect.
The film's screenplay is not devoid of messianic themes - from the symbiotic Eye of God on the film's poster/DVD cover to Jobe's godly desire to merge with all. The sequel teaser ending hinges around this "master of all" concept when Jobe merges with the international phone network system - clearly a metaphor for the spiritual omnipotence where everything becomes one.
The acting by the leads is hardly top notch but kudos to Angel Studios, who along with XAOS (pronounced Ka-os) created the startling effects. In fact, the British tabloid newspaper Sun's strap line read: "Dazzling special effects, even better than Terminator 2". The attention to CGI detail is evident in the sequence in which Jobe enters a virtual game simulation with Peter (Austin O'Brien) and the final showdown when Jobe goes head to head with his creator.
It is interesting to note that director Brett Leonard would follow suit with another virtual reality-infused actioner, Virtuosity (1995), starring Denzel Washington and Russell Crowe. This film was adapted from the Dean Koontz best-selling novel Hideaway and, ironically, just like The Lawnmower Man, Virtuosity suffered some negative publicity after author Koontz lambasted the film in the press and sued to have his name removed.
Pierce Brosnan seemed to be in some sort of limbo when he starred in what is now considered a B-movie, but he quickly came back from oblivion three years later donning the tuxedo as none other but 007 in Martin Campbell's GoldenEye (1995).
Jeff Fahey, who is starring in the fourth season of Lost (being broadcast next year) as the mysterious "other" Jacob, initially started in television productions. Perhaps he is best remembered as the arms dealer who blows Crockett's (Don Johnson) black Ferrari Daytona Spyder in Miami Vice.
Soon after The Lawnmower Man was released, the concept of alternative realities featured in a succession of films - from Johnny Mnemonic (1994), Strange Days (1995), Dark City (1998), The Thirteenth Floor (1999), Existenz (1999) to The Matrix trilogy (1999).
It is a pity that the sequel: The Lawnmower Man II: Beyond Cyberspace (1996) lost the spirit of its predecessor.
The way virtual reality was presented in the original film was a precursor to all that is happening in this era - from Big Brother's simulated world, to web blogging, from online gaming to virtual cities.