Virtuosity
1. The film starts in the space of a simulated or virtual environment. For some viewers this is immediately apparent: the sky is a bit wrong, everybody looks the same, the characters seem not to recognize themselves. How does this "boxed" structure of the film (a virtual reality inside a fictional/cinematic reality) evolve in the course of the film? Do the two realities stay separate? Does the non-virtual world acquire some of the characteristics of the simulation?
2. Think about the visual representation of SID 6.7 and Sheila 3.2. What types of virtual experiences have they been designed to facilitate? What are they each modeled on? Think about inconsistencies in this structure. For example, even though Sheila is an erotic program, her movements and body type seem related to fashion models, or lingerie advertisements, rather than to hard core pornography. Are there similar issues with SID's design?
3. What is the relationship of the scientific establishemnt that is doing this research to the convicts that they use for testing it? What happens to civilians who get caught between them? Think about the relationships that emerge in the film between civic, governmental, scientific and personal priorities and boundaries.
4. SID 6.7 behaves like a database of popular culture references and cliches. He is a composite character, and we learn a lot about what went into his personality programming, and which famous villains are part of him. This is already an issue: what do we know about famous villains that we can use as quantifiable and repeatable knowledge? And also, do we find out how his performative character is created? For example, were the popular references programmed in, or did SID evolve into a media savvy, pop culture maven? Is this part of his personality necessary to the film?
5. There are many sentimental sequences in the film, in which Parker Barnes (Denzel Washington) remembers his family and previous life. How is he represented as a character? His initial representation as a dangerous man and a convict is soon turned around when he becomes the ethical and redeeming force behind the film. His fight with SID 6.7 soon takes on a personal and existential dimension. What kind of relationship evolves between Parker Barnes and SID 6.7?
Eric Bernt, the writer of Virtuosity, also wrote the screenplay for Surviving the Game (1994) and Romeo Must Die. (2000)
Brett Leonard, the director of Virtuosity, also directed The Lawnmower Man (1992).
At some point in the film SID 6.7 says: Lt. Parker Barnes: Denzel Washington
"Just because I'm carrying the joy of killing your family inside me doesn't mean we can't be friends."
Have a look at the collected images and material on the fan page for Russell Crowe as SID 6.7 in
Maximum Russell Crowe: Virtuosity.
For more information specifically on the many "evil" personalities that make up Sid 6.7, look at Hidden Mask .
And here is a resource for finding more images from the film .
Dr. Madison Carter: Kelly Lynch
SID 6.7: Russell Crowe
Dr. Darrel Lindenmeyer: Stephen Spinella
William Cochran: William Forsythe
Commissioner Elizabeth Deane: Louise Fletcher
Wallace: William Fichtner
John Donovan: Costas Mandylor
Clyde Reilly: Kevin J. O'Connor
Karin: Kaley Cuoco
Matthew Grimes: Christopher Murray
Sheila 3.2: Heidi Schanz
Media Zone Singer: Traci Lords
Big Red: Gordon Jennison Noice
Linda Barnes: Mari Morrow
Contact the instructor: dk2244@yahoo.com