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The forest scene itself is just shy of three minutes, and the actors both do a wonderful job selling the scene, but in the end, I couldn’t buy it.
The article begins by revisiting the dramatic forest scene where Monica abandons David and Teddy. Despite the actors' compelling performances, the author found the scene confusing and irritating, rather than moving. This emotional disconnect prompted a deeper analysis into the underlying issues of the film's narrative.
The fundamental problem with the scene stems from the film's unstated thesis: 'Nobody knows what 'real' really means.' This idea, borrowed from Brian Aldiss's short story, challenges the concept of endowed value, suggesting that if 'real' has no objective meaning, then human value also lacks objective meaning. Realizing this would alienate the audience, Spielberg (and perhaps Kubrick) executed a 'bait-and-switch,' reframing the narrative around the question of whether humans can love a robot back, thereby turning it into a story about prejudice against androids to elicit sympathy.
Monica, David's adoptive mother, is burdened with three conflicting roles simultaneously: she serves as David's primary motivation and source of hope, an avatar for the audience's sympathy, and a symbolic representation of the world's rejection of a 'loving' robot. These roles clash, making her both a sympathetic figure and a villain in the same scene. The author suggests that if David's father had been the one to abandon him, Monica could have maintained her sympathetic role without introducing this narrative conflict, thus preventing the confusion that arises from her contradictory actions and dialogue.
David's character suffers from an inconsistent portrayal, being depicted as 'real' when the script needs sympathy and as a mere robot when tragic circumstances are required. His innocence, which is central to his appeal, is merely a product of his programming. For example, his attempted drowning of Martin and subsequent indifference to his brother's well-being demonstrate a lack of genuine understanding of right and wrong or the value of human life. This programmed apathy makes him dangerous and justifies Monica's decision, creating a paradox where the audience is asked to sympathize with an innocent victim who is also a threat due to his lack of a 'human soul.'
Ultimately, the forest scene fails emotionally because it forces the audience to simultaneously hold contradictory beliefs: that Monica is justified in abandoning David due to his inherent danger, and that David is an innocent victim of human cruelty. This internal inconsistency prevents a cohesive emotional response, leading to a mix of sadness and confusion rather than the pure pathos the scene aims for. The narrative's struggle to reconcile Kubrick's philosophical treatise with Spielberg's sentimental storytelling talents results in a convoluted emotional experience.