Westworld (1973)

Calificación de los usuarios:

7.1/10   

Director:

Michael Crichton

Guionista:

Michael Crichton (written by)

Fecha de Lanzamiento:

21 noviembre 1973 (USA)

Género:

Acción | Ciencia-Ficción | Suspenso | Del Oeste

Frase comercial:

Westworld ...where robot men and women are programmed to serve you for ...Romance ...Violence ...Anything

Plot:

A robot malfunction creates havoc and terror for unsuspecting vacationers at a futuristic, adult-themed amusement park.

Plot Keywords:

Computer | Saloon | Brawl | Futuristic | Seduction

Premios:

3 nominations

Comentarios de los usuarios:

Along with Logan's Run, a definitively seventies view of the future.

Reparto

Yul Brynner	...	Gunslinger
Richard Benjamin	...	Peter Martin
James Brolin	...	John Blane
Norman Bartold	...	Medieval Knight
Alan Oppenheimer	...	Chief Supervisor
Victoria Shaw	...	Medieval Queen
Dick Van Patten	...	Banker
Linda Gaye Scott	...	Arlette (as Linda Scott)
Steve Franken	...	Technician
Michael T. Mikler	...	Black Knight (as Michael Mikler)
Terry Wilson	...	Sheriff
Majel Barrett	...	Miss Carrie
Anne Randall	...	Servant Girl
Julie Marcus	...	Girl in Dungeon
Sharyn Wynters	...	Apache Girl

También conocida como:

Almas de metal (Spain) [es]
Oestelandia (Venezuela) [es]

Duración:

88 min

País:

USA

Idioma:

Inglés

Color:

Color (Metrocolor)

Relación de Aspecto:

2.35 : 1

Sonido:

4-Track Stereo

Clasificación:

Finland:K-16 (cut) (1974) | Iceland:16 | Germany:16 (DVD rating) | Australia:PG | Norway:15 | Sweden:15 | UK:15 (video rating) (1986) | UK:AA (original rating) | USA:PG | West Germany:16 (nf) | Singapore:PG | Canada:13+ (Quebec) | Canada:PG (Manitoba/Ontario) | Netherlands:12

Locaciones de Filmación:

Harold Lloyd's Greenacres Estate - 1740 Green Acres Drive, Beverly Hills, California, USA

Compañía:

Metro-Goldwyn-Mayer (MGM)

Trivialidades:

Director John Carpenter based the "indestructable" nature of his killer Michael Meyers in Halloween (1978) on Yul Brynner's character in this film.

Errores:

Continuidad: When Peter kicks in the bedroom door, he fires more rounds that the revolver's capacity.

Citas:

[first lines]
Interviewer of Delos Guests: [hosting a commercial] Hi. Ed Ramsey from Delos. If there's anyone who doesn't know what Delos is, well, as we've always said: Delos is the vacation of the future, today. At Delos, you get your choice of the vacation you want. There's Medieval World, Roman World and, of course, Westworld. Let's talk to some of the people who've been there.

Conexiones de Película:

Spoofed in "The Simpsons: Itchy & Scratchy Land (#6.4)" (1994)

Along with Logan's Run, a definitively seventies view of the future.

WESTWORLD presents a view of the future that seems even more sadly dated than the foolish Buck Rogers and Flash Gordon fantasies of the forties and fifties. The film gets off to a good retro beginning with mentions of the hovercraft that transports the guests to Delos (at least it wasn't a monorail) and a shot of a grim-faced pilot wearing mirror-lensed sunglasses. Then we get Richard Benjamin - was ANY actor more essentially seventies than this man? There he sits with a particularly ill-advised moustache, blow-dried hair, a horrible business suit and a roll-neck sweater, getting a lot of valuable practice in for his future role as Walter Matthau's tetchy nephew in THE SUNSHINE BOYS two years later. Here, he's a recently-divorced lawyer who's both excited and apprehensive about his visit to this autonomous wonderland where you can do all the killing, fighting, eating, screwing and mindless damage you like, because you're doing it to androids, who don't mind a bit. (A similar idea was expressed in one of R.Crumb's early ZAP strips.) By his side is James Brolin, his arrogant, seen-it-all-before friend, who you just know is going to come to a sticky end. Insousciance in the face of technology is never a good idea, as any fool who's seen 2001:A SPACE ODYSSEY will tell you. Anyway, they get to Westworld and have several violent run-ins with Yul Brynner's deranged robot gunslinger, lots of loose sex with 19th-century bar-room floozies (whose blue eye-shadow and Farrah Fawcett hairstyles were something of an anachronism, even then) and finally sense things are going astray when Brolin gets gnawed by an irate robot snake. Rather than getting the hell out of Dodge, to borrow a hackneyed cliche, they stick around for a good old-fashioned bar-room brawl, oblivious to the fact that the other two Delos resorts are fast degenerating into violent mayhem and anarchy, then Brynner decides that their skinny human butts are his. To cut a long (and often tedious) story short, the final scenes where Benjamin stops being such an uptight feeb and takes decisive action are the best in the movie, with a surprisingly downbeat finale that does pull a few reasonable shocks out of the bag. In some ways, it's too little too late, but Crichton has still managed the underhanded trick of tacking a great ending onto a so-so movie, which makes the whole thing look better in retrospect.

WESTWORLD is fine as long as you don't think about it, as Crichton's vision of this automated dystopian resort is subject to some glaring plotholes and flaws. I won't reiterate them here, as most of them seem to have been spotted by previous reviewers, but they are intensely irritating, even when you're watching the thing, and they show up the limitations of what could have been a really good idea. The direction, photography and sets are mostly fine, and the bleak, clinical, featureless control rooms and corridors of Delos look scarily similar to just about any corporate or government "official" building you might take a walk around today. But those big, bleeping, flashing computers with spinning tape reels and hypnotic screensaver-type graphics look like they were culled from an old episode of The Goodies or Blake's Seven, and the technicians themselves display similarly disgusting seventies hairstyles and dress-sense to the bickering crew members of John Carpenter's DARK STAR. A few more splashes of primary colour, more orange, beige or brown furnishings and a handful of scenes shot in a modern shopping centre, and this could have been the definitive document of seventies future chic.