Dystopian Films And The Art Of The Confident Exit

George Lucas’ first movie, THX-1138, stars a young Robert Duvall as a man suffering from malaise in an underground world full of peaceful bald people dressed all in white. His life is not bad, but it’s also not good (for example, his name is THX-1138). After his girlfriend is disappeared when the church-like government deems the couple to be a bad match, THX (“Tex” to friends) decides that he’s going to leave the system.

THX doesn’t know exactly what awaits him outside the system. He’s only sure – or perhaps, nearly sure – that it’s something better than what’s inside the system. Or perhaps he merely hopes to come into a life of clear decisions and palpable physicality. It will be harder, surely, but it will also be his own.

Just before THX reaches the outer edge of the underground city, the robotic policeman that has been chasing him calls out a warning:

“If you go any farther, we won’t be able to help you.”

It’s a chilling thing to hear in that moment, for both the character and the audience. THX pauses and looks back at what he’s leaving behind. Was he wrong about everything? Suddenly the cop is not a thug enforcing the will of a draconian state, but a potential angel of mercy, offering the protection of a benevolent environment which, though not perfect, is better than chaos.

And then THX turns back around, and leaves the underground city…

sunrise image by Fr Antunes