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THX 1138 (1971)

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In the twenty-fifth century, a time when people have designations instead of names, a man, THX 1138, and a woman, LUH 3417, rebel against their rigidly controlled society.

Director:

George Lucas

Writers:

George Lucas (story by), George Lucas (screenplay by) | 1 more credit »
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Popularity
3,410 ( 534)
2 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Robert Duvall ... THX
Donald Pleasence ... SEN
Don Pedro Colley ... SRT
Maggie McOmie ... LUH
Ian Wolfe ... PTO
Marshall Efron ... TWA
Sid Haig ... NCH
John Pearce John Pearce ... DWY
Irene Cagen Irene Cagen ... IMM (as Irene Forrest)
Gary Alan Marsh Gary Alan Marsh ... CAM
John Seaton John Seaton ... OUE
Eugene I. Stillman Eugene I. Stillman ... JOT
Jack Walsh Jack Walsh ... TRG (as Raymond J. Walsh)
Mark Lawhead Mark Lawhead ... Shell Dweller
Robert Feero ... Chrome Robot
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Storyline

It's sometime in the future in a state controlled society, where conformity and homogeneity are the rule. What is also the rule is that the populace follows the wants of the faceless state without question. How this is achieved is through a mandatory drug regimen, which also suppresses human desire, with sexual intercourse and human relationships banned. The law of the state is policed by a force of robocops. The physical environment is totally within a manufactured enclosure, what being outside of this unknown. THX 1138 is a loyal subject, he who goes about his business as a skilled factory working building robocops. And even when he begins to have strange feelings, he does what is obliged by going to the state run confessional, which further brainwashes through its reinforced mantra of happiness, loyalty and understanding. THX 1138 is given a glimpse into the other side through his computer matched and thus appointed female roommate, LUH 3417, and her surveillance colleague SEN 5241... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

The Future is here. See more »

Genres:

Drama | Sci-Fi | Thriller

Motion Picture Rating (MPAA)

Rated R for some sexuality/nudity | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site

Country:

USA

Language:

English

Release Date:

11 March 1971 (USA) See more »

Also Known As:

THX-1138 See more »

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Box Office

Budget:

$777,000 (estimated)

Gross USA:

$2,437,000

Cumulative Worldwide Gross:

$2,437,000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (director's cut) | (1971 Studio Theatrical Cut)

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The image of OMM in the confessional booths is a cropped image of Hans Memling's painting, "Christ Giving His Blessing", dated 1481. See more »

Goofs

The Hologram can eat. See more »

Quotes

[first lines]
Male voice (medicine cabinet): What's wrong?
THX 1138: Nothing. Nothing really. I just feel that I need something stronger.
Male voice (medicine cabinet): If you have a problem, don't hesitate to ask for assistance.
THX 1138: Yes, thank you, I'll be alright.
Male voice (medicine cabinet): Call 3485...
See more »

Crazy Credits

The Warner Bros. logo is preceded by a trailer for a Buck Rogers serial (or in early versions, a one-minute scene from Things to Come (1936)). See more »

Alternate Versions

The 2004 "George Lucas Director's Cut" contains several updated and CGI- expanded sequences:
  • The mosaic at the beginning of the film has been color treated and looks more like a bank of monitors.
  • The droid factory at the start of the film has been greatly expanded with CGI and we see much more detail of the creation of droids.
  • Many shots of the "city" have been greatly expanded with much more detail.
  • Several corridors in the film have been extended with more people.
  • The "Mind Lock" sequence has been updated and now has much more shots of the droids being created and new eye effects on Robert Duvall.
  • There is a never-before-seen shot of the police station.
  • The train scenes at the end have been expanded with more special effects.
  • The car chase scene is longer and more intense, with more CGI.
  • THX is attacked by new CGI shell dwellers at the end on his way out.
See more »

Connections

Referenced in Young Sheldon: Pilot (2017) See more »

Soundtracks

Elevator Music
(uncredited)
from the Miracle in the Rain (1956) score
Composed by Franz Waxman
See more »

Frequently Asked Questions

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User Reviews

 
Was loving it... was loving it... hated it.
6 August 2007 | by rooprectSee all my reviews

===EDIT: The following review was written before I knew the extent of the cgi doctoring that Lucas added recently. These are the "cheap action scenes" I'm talking about below. If you can find a copy of the original undoctored THX-1138, that's the one to watch.===

Aw man. This film had so much promise. It starts out abstract, minimalist, challenging and poetic. It gets deeper, more bizarre and artistic. But then it suddenly degenerates into a cheap action flick with hi-tech car chases, and it ends with the most simplistic, meaningless resolution. Total letdown.

It's as if Hamlet's famous soliloquy went:

"To be, or not to be: that is the question. Whether 'tis nobler in the mind to suffer the slings and arrows... and CARS! and MOTORCYCLES! and fast whizzy things BAM!! The End!!!!"

I suspect that Lucas began this film with a fantastic premise & with artistic intent, but then he suddenly realized "hey wait, I don't know what I'm doing. How do I end this damn thing?" True, it's an interesting dystopian drama. George must've been reading a lot of Kurt Vonnegut when he filmed this. Yes, it's very much in the style of 2001: A Space Odyssey. George must've been watching a lot of Kubrick. But that's where it ends. George fails to present anything original. And as it unravels into a simplistic action flick in the last 20 minutes, you realize that George has been fooling you for the last hour and a half. Literally, it ended, and I said out loud, "Uh... is this where Lucas got bored and stopped filming?"

Still, I have to give him an "A" for effort. Like most of the other reviewers, I was blown away by the fact that George Lucas was capable of this type of abstract poetry. With the exception of those cheezy action scenes (which I'm sure Lucas added ex post facto, like he did with Star Wars + CGI) it is reminiscent of the old Michael Crichton films (Andromeda Strain, Westworld) with maybe a dash of Rollerball.

The early 70s was a wonderful time for scifi, because all the directors were scrambling to emulate Kubrick's masterpiece. But like this film, the effort ran out of gas and eventually slumped into plot-driven cheese. What is so frustrating is that Lucas could have made something truly great if he had just followed up on Donald Pleasence's cryptic ramblings midway. Unfortunately, he chose to go in the other direction, and the film ends with no dialogue for the last 20 minutes. Instead we get a lot of (ex post facto CGI) special effects and chase scenes. What a shame. We literally see before our eyes the unfortunate turning point of Lucas' career.

In space, sometimes a nebula--for all its swirling promise--never quite consolidates itself into a star. This movie, like Lucas, like the failed nebula, is the big one that got away.

P.S. George, if you're listening, please stop adding "new" special effects to the old films! You're not impressing anyone. You & Ted Turner both...


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