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Review
"A beautifully written and elusive study of Cameron's film . . . which powerfully conveys his passion for the movie."--"Sight and Sound
Product Description
Made on a low budget, "The Terminator" was one of the most influential films of the 1980s. This text places the film in the context of exploitation films, and argues that it is compelling because it deals with the darker, more visceral pleasures of movie-going.
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Customer Reviews
Most Helpful Customer Reviews
6 of 6 people found the following review helpful
Format:Paperback
Having been a die-hard fan of the film for many years, and my admiration derided by friends who considered it superficial popcorn fare, I was overjoyed when I read this little book and learned that I was not the only one to appreciate its cinematic values and narrative depth, as well as the importance of its place in the history of modern cinema. French's excellent, clear and accesible yet insightful analysis brings all of this to light and much more. It's a must-buy for all fans of the film, and for those who have never had high thoughts of it, a guide which might help them look at it with new eyes.
2 of 2 people found the following review helpful
Format:Paperback
This book is great for those who are fans of the film who have tried to convince others that it is a serious piece of work. Although I may not agree with all that Sean French says, I definitely agree with his underlying respect for the film and think that the publication of this book proves what an important film The Terminator was and is.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
6 reviews
6 of 6 people found the following review helpful
Appropriate Response
4 Aug 2002
Format:Paperback
This was a very good look at "The Terminator." It covers issues such as the debt to Harlan Ellison, the image of Arnold Schwarzenegger, and how the violence and anti-social nature of the original movie were sanitized in "Terminator 2: Judgment Day." There is a fascinating discussion on why the audience responds to the villain in "Terminator" and not the hero (Michael Biehn), and the analysis of the scenes of the film and their duration is quite interesting.
In short, this book takes its topic seriously and addresses issues that previous articles I had seen on "The Terminator" hadn't really raised.
The "Appropriate Response" to this book by people who enjoyed the movie is to buy it.
10 of 12 people found the following review helpful
Swift
27 Jun 2000
Format:Paperback
Whereas many of the BFI film guides descend into realms of film-school arsiness (literally so in the case of Michael Rogin's semi-classic 'Independence Day'), this is a refreshingly straightforward collection of trivia and informed commentary on 'The Terminator', and probably the best that is likely to appear. Given that 'The Terminator' was produced quickly on a low budget, and that not much was expected of it, no records were kept of the filming, and there really isn't much to write about the making of the film itself. Rather, the author takes us through the film, pointing out the clever bits, and writing about them. It's almost as spartan and efficient as the film itself - you'll probably finish it in half an hour, and wish that it was longer.
3 of 3 people found the following review helpful
A huge disappointment....
24 Aug 2010
Format:Paperback
Over the last few years, I have taken a particular interest in the BFI series, particularly since many excellent film theorists, critics and academics have contributed excellent essays on many modern classic films. For many fans, The Terminator seems an obvious choice for inclusion in the BFI series. However, much is missing from this short and odd volume. While the usual infamous film stills are present (and for the most part are fine), the argument and presentation lack considerable depth. No fan of the series (academic or otherwise) will learn anything substantial that has not already featured previously in interviews and 'making of' documentaries about T1 or T2. Speaking of T2, French seems particularly interested in bringing it up at every given opportunity - a film that should in no way dominate any interesting discussion on the original film. Furthermore, the tone of the book is as times quite flippant - hardly what anyone wanting an interesting read about the film wishes to be burdened with.
While this book certainly does not reflect the usual quality of the BFI Modern Classics series, it unfortunately treats a modern classic film as a minor piece of textual analysis, which, for any fan or film scholar, is truly disappointing.
While this book certainly does not reflect the usual quality of the BFI Modern Classics series, it unfortunately treats a modern classic film as a minor piece of textual analysis, which, for any fan or film scholar, is truly disappointing.
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