“You call that violence art?”-The Terminator and Apocalypse culture
July 1st, 2009‘The Terminator’, was originally released in 1984 when I was 6 years old, and so always seems to have existed in my consciousness. I can remember the cover image from my local shop, when VHS first started to become available.
There were a lot of horror titles there, the ‘video nasties’ of the eighties. A world of nightmares waiting to be released from their plastic cases. Freddy Kruegars horribly scarred face and knife claw. ‘Driller Killer’, which featured a cover image of a man having a large drill bit driven into his skull. Pretty scary for a ten year old boy buying sweets, and this was all without even seeing the movies.
For whatever reason, The Terminator recently resurfaced in my consciousness. Its interesting to revisit this movie, as it’s easy in the light of witless cash cow sequels and Arnold Schwarzenegger’s ascendancy to the ‘Governator’ to forget how bleak it actually is.
Most of the action takes place in a contemporary Los Angeles of 1984. We learn the city will be destroyed in a few years time, presumably along with most of the rest of the world, in a nuclear war.
This nuclear war is instigated by a supercomputer that is put in charge of the United States defence systems. The machine rebels, decides all human beings are a threat and must be destroyed. In the ensuing conflict between machines and humanity, it sends a killing machine, ‘The Terminator’ back through time in an attempt to kill the mother (Sarah Connor) of its enemy (John Connor, her son and leader of a future rebellion against the machines) before he is born.
Make no mistake, the Los Angeles of 1984 seen in ‘The Terminator’ is no Eden prior to the fall: it’s a dirty, decaying cesspit, largely populated by the damned.
And the characters we might conventionally expect to be ‘the good guys’ are not much better-
The cynical police detective who remarks upon brutal crimes in the way that one might comment upon the weather.
The slimy criminal psychologist. His attempts to rationalize and institutionalize the chaos will be futile and offer no comfort. Upon hearing a characters story about time travel from the future, he says ”I could make a career out of this guy”.
Sarah Connor’s friend who she shares an apartment with, who constantly has a Walkman attached to her head, even when she fucks her vacuous boyfriend.
For a city that famously enjoys so much sunshine, the Los Angeles we see here is very dark. Most of the action takes place at night.
There are three key scenes that take place in daylight. Firstly, near the start of the movie, we see the heroine, Sarah Connor, riding her motorcycle to her employment at a burger restaurant. Her life is shown to be pretty mundane, and she doesn’t appear to harbour any particular hopes or dreams for the future. She suspects none of what will unfold.
The second is where the Terminator arrives at the home of another Sarah Connor, forces its way into her home and shoots her dead. Since the machine is unaware of the exact details of the Sarah Connor that it is its mission to kill, it must systematically work it way through the phone book. The movie lays out its nihilistic values from the start. Nobody is safe, and the violence will be random and extreme.
This intrusion of terror into suburbia reminds of a dream sequence from ‘American Werewolf in London’ (1981). Here Uzi-wielding Nazi monsters massacre a family and destroy their home. They even kick in the television screen on which Kermit the Frog and Miss Piggy are discussing the merits of a Punch and Judy show. ”You call that violence art?” asks Miss Piggy.
The third time is in the conclusion of the movie when Sarah Connor has survived her ordeal, escaping the claustrophobic urban decay (and presumably the approaching nuclear war) by travelling to Mexico. But even here storm clouds are gathering…
The inescapable theme of the movie is human self destructive behaviour. Humans make the machines, the machines become sentient and attempt to destroy humans.
The depiction of Los Angeles, the characters within it and its subsequent destruction by nuclear attack recall a medieval Christian interpretation of the Black Death (a plague estimated to have killed around a third of the European population) as a punishment from God, wreaked upon a world despoiled by human sin.
The movie stops short of actually saying that the human race is essentially evil and deserves to be destroyed, but it’s not far from it. The gritty Los Angeles we see in ‘The Terminator’-does it deserve to be saved or destroyed? Do it’s sinners deserve to perish in the fire of a nuclear war?
Is human nature inexorably, insanely self destructive? It certainly must have seemed like it in the 1980’s, with the ever present threat of global nuclear war. That’s quite a thing to have hanging over your head, something which cannot be reconciled; no surprise then that apocalyptic themes appear in popular media of the time.
The innocents who die in the film, the suburban mom, the policemen, the customers in the night club, or the millions who perish in nuclear holocaust, die because their society put its faith in a deluded techno-centric militarism.
One last point-I was going to mention how the Terminator as unstoppable killing machine reminded me of a more recent movie bad guy- Anton Chigurh in ‘No Country For Old Men’.
Although, interestingly, the Wikipedia entry for the movie states that the Coen brothers wanted to avoid comparisons with the one-dimensional Terminator. Ah well.

































