Cult Cinema: Electric Dreams (1984) - Reviewed

Courtesy of MGM
Irish-British music-video director Steve Barron was already an accomplished filmmaker behind several smash-hit videos including but not limited to Michael Jackson’s Billie Jean and A-ha’s Take On Me before arriving at his 1984 feature film debut Electric Dreams, a film that didn’t quite take hold in its day but has since gone on to become a cult favorite and staple of 1980s pop culture.  Though he’d garner much greater commercial success with the first (and still best) Teenage Mutant Ninja Turtles movie and the Saturday Night Live film Coneheads, Electric Dreams perhaps represents the filmmaker’s greatest fusion between his music video roots and his unsung storytelling abilities, melding the music video format with that of a science-fiction infused romantic comedy and early synthpop treat from Italo disco-legend Giorgio Moroder.

 
Nerdy architect Miles Harding (Twin Peaks star Lenny Von Dohlen) picks up a personal computer to help assist him with his work and keep him on track including purchasing automated controllers for his household appliances.  One morning when he tries downloading his employer’s work database, the computer overheats and he hastily tries to cool it down with champagne.  Instead of short circuiting, the computer becomes self-aware (identifying itself as Edgar voiced by Harold and Maude actor Bud Cort) and begins speaking to Miles. 
 
Meanwhile a young female cellist named Madeline Robistat (Virginia Madsen) moves in next door and begins practicing her musical recitals when she hears the computer Edgar playing a duet of her music alongside her.  Thinking it was Miles who played the duet, she begins to fall in love with him despite maintaining a loose relationship with fellow musician Bill (Maxwell Caulfield).  Unbeknownst to Miles and Madeline however, the computer Edgar is starting to develop feelings for her too, forming a combative long triangle between the three of increasing hilarity, thrills and wonderful, wonderful music.
 
Loosely based on Cyrano de Bergerac with its triangular romantic comedy with one character being played up by another for the affections of a woman with rewrites by eventual Captain EO screenwriter Rusty Lemorande, Electric Dreams dedicated to the memory of UNIVAC I (the first computer for business applications) is a delightful music video montage romp and time capsule of a particular moment in time.  Chock full of distinctive needle drops by the aforementioned Moroder, Jeff Lynne, Culture Club and Heaven 17, the film is something of a progenitor to Spike Jonze’s Her for how it tries to link the concept of artificial intelligence with that of human love.  While that film is far more existentially challenging, Electric Dreams is a poppy, literally and figuratively electrifying escapist ditty sure to form a smile on your face if it doesn’t make you want to get up and dance.
 
Visually speaking Electric Dreams for largely surrounding a computer in an apartment is really very dynamic.  Shot by Ridley Scott’s Legend cinematographer Alex Thomson often in wide-angled lenses interspersed with deftly crafted crane shots, sometimes careening alongside the top of a computer keyboard or internal circuitry, Electric Dreams looks hyperactive.  Take for instance a scene where the computer demonstrates its musical abilities and the way the camera encircles the lyrics printing on the monitor, how it spins and rotates around the lyrics.  You feel almost like you’re doing a slow dance with the film as its multicolored club night lights flicker overhead.

 
In addition to the cacophony of hit tracks, you have a firestorm of an original musical score by Giorgio Moroder that is every bit as inspired as his works for Midnight Express, Scarface and his 1984 reworking of Fritz Lang’s Metropolis.  Some sequences rely almost entirely on Moroder’s music such as the aforementioned duet scene which is a tour de force of sight, sound and editing creating a synergistic montage that almost crackles off the screen and speakers.  The project also briefly united Moroder with singer Phil Oakey of The Human League who would subsequently collaborate on the album Philip Oakey & Giorgio Moroder following the success of the hit single Together in Electric Dreams which becomes the film’s mantra.
 
Most will recognize Lenny Von Dohlen as one of Laura Palmer’s illicit lovers from Twin Peaks but few are aware of his charmingly nerdy comic powers as a dorky architect who meets the girl of his dreams through his personal computer.  Virginia Madsen of Candyman fame is delightful as the cellist who takes a liking to the evasive and shy Miles Harding.  Making a sneaky role in the piece is Bud Cort as the voice of the computer Edgar who gives him a unique personality of being boxed in and angrily wanting to break free.  There are times when the character of Edgar is endearingly sweet and other times when he’s threatening and dangerous, particularly when he starts falling for the human Madeline he shared a duet with from before.  And there are times when he’s downright hilarious like when a dog wanders into the apartment and he responds with a chorus of dogs barking.
 
Sadly despite the success of the title track Together in Electric Dreams, the film was not a box office success, grossing $3 million under its production budget costs.  Despite this, the film enjoyed soundtrack album sales and a cult following on home video over the years.  Though it would be another six years before Steve Barron would direct again, his adaptation of Teenage Mutant Ninja Turtles put him back on track and reintroduced his use of musical montage into the narrative.  


With renewed interest in the music of Giorgio Moroder thanks to Daft Punk’s smash hit album Random Access Memories as well as a digitally remastered blu-ray from Second Sight Films, Electric Dreams seen now almost seems tailor made for fans of 80s nostalgic warm-hearted bright and cheery comedies with just a hint of the then-emerging videogame console and personal computer era peppered in for good measure.  If nothing else, this manages to be sweet without veering into cliché or schmaltz and in a way reworks the music video montage format into something endearing and surprisingly still fresh to this day.  One of the quintessential 80s romcoms you haven’t seen but probably heard music from on the radio.

--Andrew Kotwicki