Bicentennial Man, or Andrew—NDR114 in Japan, is a 1999 film starring Robin Williams based on the well-known novella of the same name by Isaac Asimov (previously expanded into the full-length novel The Positronic Man by Robert Silverberg).The film follows the evolution of the NDR series robot Andrew Martin (Robin Williams) from his introduction into the Martin family and interaction with them through three generations: discovery of his emotional and creative abilities, development into an artist and inventor, evolution into an android, his fight to win legal recognition for his humanity, and ultimate destiny.It also stars Sam Neill as "Sir" Richard Martin, Embeth Davidtz as "Little Miss" Amanda Martin and Portia Charney, and Oliver Platt as Rupert Burns.
Adaptation Expansion: From a 200-year search for the meaning of what it is to be human to a multigenerational love story.
Arc Words: "This will not do." With those four words, first spoken when Little Miss passes away, Andrew memorizes every medical textbook available in the world and makes artificial organs and DNA elixirs that take a profound leap from the technological to the biological (and allow humans to essentially live forever). When he says those words again after Portia tells him they'd never be accepted, he goes on a campaign to earn full rights as a human being.
Become a Real Boy: Unlike most examples of this, Andrew's process of humanization takes decades.
Big Fancy House: The Martin family's large residence is shown to be this. This could justify why Mr. Martin was able to afford and maintain a then-new robot in the first place.
Chekhov's Gun: Andrew's insistence of setting up a bank account early in the movie raises eyebrows even among the Martins. Fast forward several decades however and it's implied that the money he put in there is more than enough to fund research into biotech transplants, which soon extend to the rest of humanity.
Andrew:(on Little Miss' bratty son) One understands why some animals eat their young.
Doppelgänger Replacement Love Interest: As Andrew watches his family grow, Little Miss subtly reveals she has a crush on Andrew, though he is oblivious to what she is implying. Decades later as he has become more human, he meets and falls in love with her identical granddaughter.
Dramatic Shattering: Andrew's accidental breaking of young Little Miss' favorite glass horse figurine leads to his first demonstration of creativity, as he carves her a new one out of wood.
Andrew: I've always tried to make sense of things. There must be some reason I am as I am. As you can see, Madame Chairman, I am no longer immortal.
Bota: You have arranged to die?
Andrew: In a sense I have. I am growing old, my body is deteriorating, and like all of you, will eventually cease to function. As a robot, I could have lived forever. But I tell you all today, I would rather die a man, than live for all eternity a machine.
Bota: Why do you want this?
Andrew: To be acknowledged for who and what I am, no more, no less. Not for acclaim, not for approval, but, the simple truth of that recognition. This has been the elemental drive of my existence, and it must be achieved, if I am to live or die with dignity.
Genki Girl: Rupert's favorite personality program for Galatea.
Grow Old with Me: Though he doesn't physically age, Andrew does this with Portia. Eventually he even forces himself to grow old in appearance and become mortal so that he can die of old age along side her.
Handshake Refusal: The first indication that Andrew's manufacturer sees him as a machine and nothing more is that he refuses to shake Andrew's hand when offered.
Hyper Awareness: Andrew reads Portia's heart rate, body heat, and pheromones to detect that she is attracted to him, which she says is completely unfair of him to scan her like that.
Andrew replies with the standard "All's fair in love and war" retort.
Identical Granddaughter: The adult Amanda Martin (Little Miss) and her granddaughter, Portia Charney were both played by Embeth Davitz.
I Have This Friend: How Amanda tries asking Andrew about her feelings about him. It gets them nowhere because she's disguised the question too well and he can't tell she's talking about him.
Immortality Immorality: As Andrew first petitions the World Congress to recognize him as a human, the President of the Congress cites this as the reason why it will not validate Andrew's request; since he still possesses an artificial brain despite having become a cyborg, he is effectively immortal. The President states that society can accept an immortal machine, but that it can never accept an immortal human, which would arouse too much jealousy and anger.
"It" Is Dehumanizing: Andrew's manufacturer insists on referring to Andrew as "it" despite the fact that he shows things such as sentience, emotions, and creativity, and gets annoyed when Mr. Martin uses "he" instead, saying that is a common mistake to make since Andrew is built to resemble a human.
Just a Machine: What many claim Andrew is. When arguing about Galatea, Rupert slips out that she's just a machine, much to Andrew's offense.
Andrew: That you can lose yourself. Everything. All boundaries. All time. That two bodies can become so mixed up, that you don't know who's who or what's what. And just when the sweet confusion is so intense you think you're gonna die... you kind of do. Leaving you alone in your separate body, but the one you love is still there. That's a miracle. You can go to heaven and come back alive. You can go back anytime you want with the one you love.
Rupert: And you want to experience that?
Andrew: Oh, yes, please.
Rupert: So do I.
Though that line could also mean that he hasn't experienced anything to that level of passion. Not every fling is a mind-blowing one, after all.
Never Trust a Trailer: This is not a goofy comedy about a family and their robot. The ads for the movie when it came out only showed clips of the first twenty minutes, along with the wacky dance sequence of Galatea when we first see her, trying to make us believe the movie was just a wacky situational comedy about a family with a pet robot. Even now the movie is often put in the children's, family, and comedy sections, despite its profanity, sex, and being a romantic drama questioning the definitions of humanity.
No Antagonist: The story is about Andrew's 200 year journey towards becoming human and finding love. The closest people to any sort of antagonist in the story are Andrew's stubborn manufacturer, Amanda's obnoxious son Lloyd, and the contrarian first President of the World Congress, each of whom appear in 1 or 2 scenes each and are rather incidental to the plot.
No New Fashions in the Future: Averted. Fashion does noticably change over 200 years, though jeans, tuxedos and suits remain remarkably unaffected. It's only towards the latter half of the movie however that the changes become most evident, although Galatea's outfit in the last scene is reminiscent of a nurse from The Forties.
Truth in Television: The tuxedo and jeans have remained largely unchanged since their inception with only minor variations through the years, mens' suits tend to change very subtly and very slowly, and fashion is very cyclical (the early twenty-first century saw a resurgence in the popularity of bellbottoms and tie-dye).
Personality Chip: Subverted here, for while Galatea had a simulated personality, it was only by virtue of a set of added mannerisms. Robots in this universe develop true personalities the old-fashioned way, by experience and interaction. In the end it's revealed that Galatea does eventually develop a personality of her own.
Pinocchio Syndrome: Andrew's quest to be recognized as human, even going so far as to replace his entire body with his self-invented artificial organs and become mortal.
Playing Gertrude: Embeth Davidtz (born 1965) plays Amanda Charney (née Martin), the mother of Lloyd Charney, played by Bradley Whitford (born 1959). She's not wearing ageing prosphetics at this point.
Positive Discrimination: The leader of the World Court that not only denies Andrew his humanity but rubs salt in the wound by saying he is "a machine, and nothing more" is a white man. His far more reasonable and kind replacement is a black woman. However, the leader of the World Court isn't mean. He isn't racist. He just says that humanity will never tolerate an immortal human being, fearing the societal anger that might ensue if the Court acknowledged it.
Product Placement: Averted in a weird way. US Robotics was the original company in Isaac Asimov's story, and a real-life company adopted the name. The film changes the company to North American Robotics.
Rapid-Fire Comedy: The movie isn't one these, but it contains an in-film example. Andrew attempts Rapid-Fire Comedy to show that he has studied the concept of humor, but he doesn't understand anything about the importance of delivery and so he simply recites a bunch of jokes in sequence while speaking too fast to comprehend.
Robosexual: Portia falls in love with Andrew and part of the reason he wants to be aknowledged as human was so he can have his marriage to her validated. It's also heavily implied that her grandmother, "Little Miss" had feelings for Andrew, but at the time couldn't even dare to think about such a thing.
Robo Speak: Andrew suffers from this in the beginning, but as he becomes more human, his speech becomes more natural.
Sense Freak: Andrew, once he has a central nervous system put in.
Shoo the Dog: When Andrew expresses he wants freedom, Mr. Martin tells him to leave, giving him total independence rather than pseudo-freedom. The trope is played super-straight, as Mr. Martin looks like he's cutting off his own arm having Andrew leave for good.
Space Clothes: Averted for the most part, although fashions do noticeably change over the 200-year timeframe.
That's an Order: This is also what an old Portia tells Galatea by the end of the movie so she can die with Andrew.
The Talk: Andrew is given one by his master, and expresses sorrow over the millions of deaths of unfertilized sperm.
Third-Person Person: At the beginning of the movie Andrew, like all robots, refers to himself as "this one". It is a sign of his self-awareness when he first refers to himself as "I".
However, Andrew will use it after he's self-aware to be passive-aggressive.
Three Laws Compliant: Even through his entire 200-year journey to humanity, Andrew staying within the boundaries of Asimov's Three Laws of Robotics, until he makes the decision to become mortal and die (technically breaking the Third Law).
The novel/short story has a short, simple and very sad speech on Andrew's part on whether he has broken the Third Law.
"No. I have chosen between the death of my body and the death of my aspirations and desires. To have let my body live at the cost of the greater death is what would have violated the Third Law."
In the film, Andrew's Face Death with Dignity speech above strongly implies that he's a man, not a robot, and therefore the Three Laws no longer apply.
Time Abyss: Hinted at, especially later on. Given that Andrew's been around for quite some time, the past is bound to haunt him one way or another.
Time Passes Montage: Andrew's "search for another," eventually leading to essentially his own backyard with Rupert's shop in San Francisco.
Token Minority Couple: Subverted. When Andrew first sees Galatea it appears as though he has found the fembot of his dreams, only for him to quickly realize she is just a shallow personality program on a normal robot. In fact, within three minutes or so of having met her:
Andrew: Shut her off, or I will.
Later in the film, he uses a pneumatic drill to shut her off. Hilarity Ensues.
We Want Our Jerk Back: Inverted. After Andrew reprograms Galatea to stand up for herself and stop simply being a perky servant, Rupert demands that he fix her because she is not getting any work done, as she's more of a Jerk Ass. Andrew relents.
Galatea: Every day it’s "Yes, Rupert, sir", "No, Rupert, sir", "Can I get you another beverage, Rupert, sir?!" and it CHAPS MY ASS!!!
Who Wants to Live Forever?: The saddest part of Andrew's existence is that he's forced to see his loved ones grow older until they die of old age one by one, which he becomes increasingly reflective on. He extends Portia's life significantly to prevent this, but since she doesn't want to live forever, he eventually wants to die as well, and arranges it.