This sounds like it should be a post from Marmot’s Stupid Foreigner Tricks section, but in fact it’s about movies.
I’ve been on a Robin Williams kick. Not the soft, mushy, albeit pretty-good films of yesteryear, but things with a distinctly different angle — bent, dark, or just plain weird.
The two films I’ve seen lately are titled The Big White and The Final Cut.
And then there’s The Final Cut (trailer here), a sort of SF fairytale about memory. I can’t quite consider it “true” SF because it’s kind of set in the modern era — a time that looks a hell of a lot like the 1990s or early 21st century — except that there’s a very special set of technologies added, all dealing with memory. The Zoe implant is an organic technology which simply stores up a recording of all visual and auditory stimulus that a person experiences in his or her life. After the person’s death, it is all available for review; Robin Williams’ character is a “cutter”, a man who is paid to edit peoples’ lives for funereal viewings, a kind of postmortem reality TV with one important caveat — he’s paid to edit out the bad parts, the parts nobody wishes to remember. The violence, the sexual perversions, the twisted things that people do, they all disappear as he edits their lives into some form of usable, digestible narrative.
There are plot holes, though I don’t think they’re quite so insurmountable as some of the complainers on the film’s IMDB website would like to make out. If only more SF films had characters as beautifully crafted as the ones in this one, the implications of technologies as interestingly thought-out. And as for the compliaints about the technology itself — “Why no blinking? Why no jiggling when the person moves?” — this is all easily answered by suggesting that the implant uses the central nervous system’s own continuity functions to synthesize and linearize the content so that it’s free of the jiggling and the sudden darknesses of blinking. That, or the software minimizes the effects, or… there are plenty of possible answers. Some of the other plot holes are a little less forgivable, such as the clearly over-edited plotline involving Mira Sorvino’s character, and some of the overacting by minor characters, but I have to say that I think it’s a great first big-budget movie for the director/writer, Omar Naim, and that I’m sure, given a chance, he’ll do wonderful things in the future.
On a side note: I love the wooden hardware casing that Williams’ “guillotine”-computer has in The Final Cut; wooden casing, wooden frames on the monitors, and even an all-wooden keyboard. It’s plain lovely and I would love to have a PC with that kind of an exterior.