TRON. One of the most groundbreaking films ever

No one is surprised anymore by the widespread use of computer graphics in the making of modern blockbusters, or by the fact that films often touch on themes related to computer science, video games, and especially artificial intelligence. But in the early 1980s, when these fields were still in their infancy, such topics were rarely tackled by filmmakers. One creator, however, fascinated by new technologies and their potential, decided to make a film built entirely around them — both technically and narratively. That’s how Tron was born, one of the most innovative and visually unique films in the history of cinema. But let’s start at the beginning.

In the first half of the 1970s, Steven Lisberger, a young student at the School of the Museum of Fine Arts in Boston, created a short film titled Cosmic Cartoon as his graduation project. In it, he used a technique he had invented himself: backlit animation — drawings illuminated from beneath. The short attracted considerable interest, which inspired Lisberger to develop a full-length film using the same concept, set inside a computer — a digital realm inhabited by living programs. He eagerly set about writing the script, eventually producing eighteen different drafts. It quickly became clear, however, that the production would require a massive budget, so he immediately began looking for sponsors. In the end, The Walt Disney Company agreed to finance the film, and production could begin.

Narratively, TRON doesn’t stand out in any particular way. It’s essentially a standard fantasy or science fiction story — only set in a highly unusual location: inside a computer. Here, the Master Control Program rules this world with an iron fist through his lieutenant, Sark (David Warner). The oppressed inhabitants — the programs — are forced to participate in deadly games, tortured, and stripped of their ability to fulfill their functions. Some, like Tron (Bruce Boxleitner), try to resist in vain, but the arrival of a chosen one, the user Clu (Jeff Bridges), brings hope to the subjugated applications…

Making the film was truly a titanic undertaking. The simplest shots — those set in the “real” world — were filmed quickly and without major difficulties. But most of the film takes place in a digital realm, crafted by animators responsible for the backlit animation. They had to put in an enormous amount of work to achieve the desired effect. First, the actors were filmed on black-and-white stock; then each frame was enlarged and the glowing effects were added by hand. This meant that a single frame required an average of twelve overlaid images. In this way, just 150 seconds of screen time took eight people two months of work!

In addition, the film includes around fifteen minutes of digital animation. One of the first entirely computer-generated characters — Bit — appears on screen, interacting briefly with Clu. (Incidentally, this is the first scene in cinema history in which a live-action human character speaks with a CGI creation.) Technically, TRON combines early (and not as primitive as one might think) computer effects — such as the solar sailer, Sark’s carrier, and the iconic lightcycles — with traditional animation (like the green “spiders” or the cyberspace landscapes in the finale) and optical effects.

TRON was undeniably a pioneering work, which makes it all the more astonishing that it wasn’t nominated for an Academy Awards in any technical category. Members of the Academy argued that since computers did some of the work, the creators didn’t work hard enough themselves! As a result, the statuette went to E.T. the Extra-Terrestrial.

Several more or less recognizable actors can be spotted in the cast. The biggest star is Jeff Bridges, who gives Kevin Flynn charisma and youthful energy. His co-star Cindy Morgan may be remembered by some as the seductive Lacey from Caddyshack by Harold Ramis. The antagonist, Edward Dillinger and his alter ego Sark, is played by David Warner, recognizable to Star Trek fans (particularly from parts V and VI). And sharp-eyed viewers can spot Michael Dudikoff in one of his earliest roles in the background.

Watching the film today, it’s impossible not to notice that it has aged quite a bit. Yet there’s still a spark of genius in it, and its unique visual style holds up surprisingly well (with the possible exception of some rather curious helmets). One can’t deny the filmmakers’ creativity and visionary approach in presenting a world unlike anything seen before. TRON contains many ideas ahead of its time — including an early warning about artificial intelligence, which feels remarkably relevant today, as AI makes its way into everyday life in various forms.

Personally, I feel a strong sense of nostalgia for this film and enjoy revisiting it, though for younger viewers it may require a bit of goodwill. Still, it’s worth giving it a try to discover for yourself why it’s such an original work, one that has earned its well-deserved place among the classics.