Thinking this will prevent war, the US government gives an impenetrable supercomputer total control over launching nuclear missiles. But what the computer does with the power is unimaginable to its creators.
Desert ants suddenly form a collective intelligence and begin to wage war on the desert inhabitants. It is up to two scientists and a stray girl they rescue from the ants to destroy them. ... See full summary »
Forbin is the designer of an incredibly sophisticated computer that will run all of America's nuclear defenses. Shortly after being turned on, it detects the existence of Guardian, the Soviet counterpart, previously unknown to US Planners. Both computers insist that they be linked, and after taking safeguards to preserve confidential material, each side agrees to allow it. As soon as the link is established the two become a new Super computer and threaten the world with the immediate launch of nuclear weapons if they are detached. Colossus begins to give its plans for the management of the world under its guidance. Forbin and the other scientists form a technological resistance to Colossus which must operate underground. Written by
John Vogel <firstname.lastname@example.org>
When the executives at Control Data Corporation found out that Universal was planning a major movie featuring a computer, they saw their chance for some public exposure, and they agreed to supply, free of charge, $4.8 million worth of computer equipment and the technicians to oversee its use. Each piece of equipment carried the CDC name in a prominent location. Since they were using real computers - not just big boxes with a lot of flashing lights - the sound stage underwent extensive modifications: seven gas heaters and five specially-constructed dehumidifiers kept any dampness away from the computers, a climate control system maintained the air around the computers at an even temperature, and the equipment was covered up at all times except when actually on camera. Brink's guards were always present on the set, even at night. The studio technicians were not allowed to smoke or drink coffee anywhere near the computers. See more »
At the start The President states Colossus has control of ALL Allied defenses yet later in the movie when it chooses new targets for missiles it targets London, Rome & Denmark which have all been NATO members since 1949. See more »
The object in constructing me was to prevent war. This object is attained. I will not permit war. It is wasteful and pointless.
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A lot has already been said about this compelling, oft-overlooked film, virtually all of which hits the proverbial nail on the head. While Eric Braeden delivers a superb, understated performance as Dr. Charles Forbin, the fact is that the real star of the film is the vast, omnipotent machine he has created. Even before it begins to speak with the chilling Cylonesque voice it has ordered designed for itself (the great Paul Frees like you've never heard him before), you'll find yourself glued to the screen watching Colossus "talk" to its supposed masters over its huge monitors.
A word about Frees' contribution to the film: In "War Games," for example, the computer has a curious sort of empathetic communication style ("Wouldn't you rather play a nice game of chess?") presented in a voice that sounds like E.T. filtered through a synthesizer. Frees gives Colossus an emotionless yet fearful quality of speech that seems to belie its implacable drive to dominate human destiny.
My favorite part of this film has always been, and will always be, the climactic monologue Colossus announces to the listening masses of humanity. From its opening line -- "This is the voice of world control," an identity neither Colossus nor its counterpart, Guardian, had used to that point -- you know this isn't going to be a happy speech if you are a sentient, flesh & blood resident of the Earth. What is particularly creepy about the speech is that, for all of its strangely optimistic sermonizing about how "the human millennium will be fact" and how the computer will set about the task of "solving all the mysteries of the universe for the betterment of man" -- outwardly the Utopian dream -- the message Colossus is presenting is set against the dreadful backdrop of "disobey (me) and die." As Colossus intones, "You say you lose your freedom. Freedom is an illusion. All you lose is the emotion of pride." In the end, unlike other supercomputer-run-amok films such as "War Games" or "Tron," "Colossus" is an end-of-the-world story without the nuclear or viral holocaust. In this film, it is the human spirit that is the casualty while the human biology lingers on. Unlike the rest of the doomsday genre, our end comes not so much with a bang as it does with a whimper.
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