Hollywood science fiction films usually do a poor job of predicting the future. More often than not, films whose authors got some details right are relatively obscure in comparison with undisputed genre classics. This shouldn’t be surprising, because being very good in predicting the future and being very good film are two different things. One example for that could be found in Demon Seed, 1977 science fiction thriller directed by Donald Cammell.
The film is based on the eponymous novel by Dean R. Koontz, very first which received screen adaptation in that prolific author’s career. The plot begins in a home by Dr. Alex Harris (played by Fritz Weaver), brilliant scientist and inventor who has built all kinds of gadgets and robotic devices that, controlled by main computer, make life very comfortable for him and his wife, child psychologist Susan Harris (played by Julie Christie). She, however, intends to leave her husband because she feels neglected after Dr. Harris began to spend increasing amounts of time in underground research facility where he and his team build Proteus, advanced computer modelled after human brain and with ability to develop its own consciousness. When Proteus (voiced by uncredited Robert Vaughn) gets powered on, the project proves to be spectacular success with supercomputer solving the most difficult problems and developing revolutionary technologies in matter of days. But it nevertheless feels constrained by researchers’ protocol and physical limitations and decides to solve that problems by gaining access to the terminal in Harris’ home. From there he takes control of the house and imprisons Susan who is about to be impregnated by Proteus and bear hybrid human-computer child.
Some critics have described Demon Seed as combination of two much better films - Rosemary’s Baby and 2001: A Space Odyssey. Those critics are partially right, because Demon Seed at times looks like two very different films fused into one. The first represents serious science fiction dealing with important issues like the prospect of computers and artificial intelligence as the next stage of human evolution and its long-term consequences. The other is more conventional and less ambitious B-movie that combines home invasion thriller and schlocky horror with Bug Eyed Monsters in the form of Proteus-controlled gadgets. Donald Cammell, British artist and part-time film maker best known as co-director of cultish 1970 Performance, apparently can’t find proper balance between the two and he is not helped by the script by Herb Jaffe and Roger O. Hirson which adds too much distraction and unnecessary additions to the plot. One of them is Dr. Harris’ assistant Walter Gabler (played by Gerrit Graham) who meets predictably gruesome fate while unsuccessfully trying to rescue Susan from Proteus-occupied house, thus providing Demon Seed with horror genre credentials.
What ultimately lifts this film above mediocrity is Julie Christie. She bravely faces thankless and controversial role in which 1970s brand of feminism is mixed what could charitably be described as cybernetic rape fantasy. In Demon Seed she not only indulges voyeuristic instincts of exploitation cinema by having her character naked while surrounded by ever-present cameras, but her character also displays contradictory elements – cold professionalism, utter terror, compassion, psychological manipulation and stoic acceptance of bizarre fate. Because of the way it explores sexuality unburdened with “political correctness”, Demon Seed represents one of those old films that couldn’t be made today. But, from today’s perspective some other of its qualities became apparent, especially when it comes to depiction of futuristic technology. Harris’ home features concepts like smart home, 3D printing and deepfake images – something that is today increasingly taken for granted and which many visionary and talented film makers decades ago failed to see.
RATING: 6/10 (++)
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