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Spielberg needs to depict David in this obsessive way because, otherwise, he might find himself having to justify why the father doesn’t try to save David or why Martin doesn’t grow attached to him…
This review continues from Part 4, focusing on the emotional forest scene where Monica abandons David. The author highlights several factors making the scene confusing rather than purely sad. These include the film's central thesis questioning the meaning of 'real,' Spielberg's narrative 'bait-and-switch' shifting focus from David's reality to human acceptance, Monica's inconsistent character roles, and David's portrayal as both a real boy and a robot depending on plot convenience. These conflicting elements hinder the scene's intended emotional impact.
David's inherent robotic nature is argued to collapse the film's core thesis, its narrative 'bait-and-switch,' and Monica's role as a representation of a cruel, robot-rejecting world. The audience, witnessing David's dangerous actions (like nearly killing Martin), is implicitly led to validate Monica's decision to abandon him as a justifiable act to protect her real son. This justification diminishes David's status as an innocent victim, and consequently, the audience's emotional investment in his plight. Even the actress's performance is interpreted as struggling to believe David is genuinely 'real,' further disconnecting the audience.
The author contends that the film's premise—that the concept of 'real' or endowed value is non-existent—is fundamentally illogical, making it impossible to construct a coherent narrative. Spielberg's attempt to portray David as innocent, despite his ignorance of life's value and the consequences of his actions, ironically confirms his robotic nature. For David to be perceived as 'real' and worthy of empathy, he would need to demonstrate a moral compass, show remorse for harming Martin, or actively try to connect with his 'father,' rather than being solely obsessed with his 'mother' based on programming.
David's 'love' for Monica is characterized as programming-driven obsession rather than authentic emotion. This is exemplified by his disturbing possessiveness, such as creating drawings instead of showing remorse for Martin and later destroying a copy of himself while proclaiming 'She’s mine.' Such behavior is deemed antithetical to a loving child but consistent with a robot's programming, ultimately justifying Monica's decision to leave him. The author asserts that audiences intuitively grasp these narrative flaws, rendering the film's emotional climaxes ineffective and confirming David's status as merely a 'toaster that can cry.' The next review will introduce the character played by Jude Law.