Bicentennial Man

I have seen this film quite a few times in the last few years, and every time I take something new from it.

Loosely based on the short story by Isaac Asimov, Bicentennial Man is set in "the near future" (the actual date given for the start of the film is April 1st, 2005, which dates it slightly), and follows the story of Andrew Martin, a robot.  In this imagined 'future', androids as servants are commonplace; what is unusual about Andrew, however, is that he begins to display traits such as curiosity and creativity which are considered abnormal when experienced in machines.  Andrew's owner, when releasing the uniqueness of his belonging plays Henry Higgens to the robot's Eliza Doolittle and teaches him about humanity, almost as a project it seems.  His youngest daughter, known as little miss, also becomes close to Andrew (it was, in fact, she that gave him his name, through being unable to pronounce 'android').  The elder daughter and wife are unable to accept a robot as a human - a key scene near the beginning of the film contains an argument about whether Andrew should receive money from the sale of the clocks he learns to build.  While little miss cannot understand why Andrew should not receive the rewards of his skill and work, her mother is equally unable to understand why a machine should be paid for the work it does.

As the film progresses, Andrew learns more and more about humanity, as he watches his family grow and develop, and as he learns more and more himself.  This film is oddly humorous at times, although not in an obvious way; the humour derives from Andrew's attempts to understand the idiosyncrasies of humanity, and his unique way of looking at things.  Eventually Andrew requests his independence - not because he wishes to leave his family, but because he wishes to be more than property.  Hurt by this, his owner grants him his freedom, but tells him that he cannot stay with the family - he must make his own way in the world.  Thus Andrew sets out on a quest to find out if he truly is the only one of his kind, torn between humanity and machinery. 

Robin Williams plays Andrew extraordinarily well.  Although, as I have said, this film is humorous, for once Williams is not playing a comical character.  Andrew's quaint way of viewing things humanity takes for granted, and several lines in the film have a very intelligent humour to them, rather than the almost slapstick humour Williams is famed for.  The character of Andrew is shown over two hundred years, and Williams portrays him growing and changing in a very believable manner.  Andrew progresses from being unable to understand human phrases unless they are perfectly grammatical and logical to being able to read the expressions, body language and small nuances that people take for granted to communicate. 

Embeth Davidtz who plays both little miss and her look-alike granddaughter, Portia, is also fantastic.  She manages to keep the two distinct roles unique, despite the many similarities in the roles the two characters play.  As a matter of fact, all of the actors are amazing.  Each one contributes perfectly to the storyline of the film, and I could not detect a single moment that seemed forced, out of character, or just plain wooden.  Since the film takes place over two hundred years, all of the characters age, and the make up effects used for this are extraordinary.  Unlike in I-Robot, another Asimov inspired robot film, no CGI is used, or at least, none that is detectable.  Still, the film persists in being visually stunning, and rather than being dated is merely presented in an ageless style, much like Mona Lisa Smile.

As Andrew learns what humanity means, and what being a robot truly means, he is forced to make more and more decisions. his eventual decision - in fact all of the films many events and decisions - are presented in such a way as to be perfectly understandable, although the film manages not to spell things out or patronise the audience.  The use of the instrumental "Then you look at me" (the vocal version, performed by Celine Dion only being played over the end credits) at poignant moments is very effective, and the sheer beauty of the music only adds to the tragedy and wonder of such moments.  This film, although it does have happy moments, also has it's share of tragedy; a part of the immortality of being a robot is seeing humans die.

The ending is amazing, and, although normally I begin predicting the end of a film about halfway through, as I recall, when watching this for the first time I was far too absorbed to even think about it.

This film is fairly long, although not at all drawn out, and is more serious than most, although it's still funny and enjoyable.  I don't imagine it will be to everyone's taste, but I do feel that if you give it a chance, you won't be disappointed.