Conclusions About ‘A.I.’

In Stephen Farber’s piece on disappointing movie endings, he cited Steven Spielberg’s “A.I.” and its audience-rejected conclusion featuring “extraterrestrials” (“Savviest Filmmakers Put Things Last,” Aug. 27).

Maybe Farber and other viewers would have enjoyed the film more had the beings at the end of the film wore signs stating, “We’re advanced robots, not extraterrestrials!” It’s fine if Farber disapproved of the ending to Spielberg’s film, but his argument might carry a bit more weight had he actually understood what was happening on screen. For a film that has been literally criticized to death for its literalism, it’s amazing how the ambiguities of “A.I.” have been lost on its critics.

The film simply required that some thought be devoted to its dialogue, visual symbolism and themes, something summer audiences (and a few critics) seemed unwilling to do. The “Spielberg ending” was in fact part of Stanley Kubrick’s plan for the film all along and properly echoes the conclusion of his “2001: A Space Odyssey.” “2001” was also largely reviled at the time of its release, and had it been put into 3,000 theaters in the middle of mindless summer blockbuster hype, I wonder if it too would have suffered the fate of “A.I.”

JEFF BOND

Senior editor, Film Score Monthly Magazine, Culver City

*

Farber’s article was for the most part on-the-nose about the importance of powerful endings in films, and I completely agree with his assessment of Tim Burton’s dopey ending for “Planet of the Apes” (I’m still trying to figure it out).

However, I do think he missed the mark with “A.I.” I’ll be the first one to say that the final act of the film is a bit long and could have been trimmed. However, both times I saw it, I left the theater in tears over the powerful, emotional reconnection between mother and “son.” Maybe my feelings are colored a bit because I lost my own mother at a fairly young age, but I found the ending to be extremely satisfying and emotional. I applaud Spielberg for tackling such a complicated subject and providing audiences with a film that, despite a few flaws, is certainly a cut above the usual summer fare. BILL LUNDY

Chatsworth

*

Perhaps Farber didn’t think about the ending of “Planet of the Apes” quite long enough. Though confusing at first, the ending apparently points to a sequel--one in which we learn that Gen. Thade, in the “pod” vehicle left behind on his planet, made it to Earth in an earlier year and changed our history. Somehow, Mark Wahlberg’s character will have to return to the planet of the apes and stop him from making that trip.

I, for one, am eagerly awaiting that sequel--and as many more as Tim Burton cares to make.

AARON SHEPARD

San Pedro

*

Small correction to Farber’s fine article: It is Michael Corleone’s bodyguard Al Neri (Richard Bright) who closes the door on Diane Keaton’s Kay in the final scene of “The Godfather,” which makes the scene even more dramatic due to the power of implied delegation.

CURT CHIPMAN

Signal Hill