THE TERMINAL
US, 2004, 125 minutes, Colour.
Tom Hanks, Catherine Zeta- Jones, Stanley Tucci, Diego Luna.
Directed by Steven Spielberg.
For those who travel, two hours watching people working and waiting in an airport terminal may create some sense of déjà vu. The terminal here is JHK in New York.
On paper, the basic plot may seem far-fetched. However, it is given some plausibility as we follow the fate of Victor H, a visitor to the US who finds himself falling into an administrative crack that lasts for nine months. While he was in the air, there was a revolution in his eastern European nation which has led to all visas being declared invalid. The US has not recognised the interim government. As administered by officials who live by the book and the rules and are not strong on compassion. In fact, they wish he would make a break for it so that the ‘unacceptable’ visitor could be arrested by another authority.
It makes you wonder what on earth you would do in a similar situation. The regulations are against you. You have very limited language. You have very little money. People are suspicious.
Tom Hanks played Victor sympathetically, as might be expected. Stanley Tucci gives a strong performance as the airport boss, stubborn, sometimes wily, always concerned about his own position above all else. Catherine Zeta Jones is a friendly flight attendant.
The films dawdles sometimes. After all, two hours is quite a long time to stay in an airport at the best of times. But, the film grows on you and takes on something of a contemporary fairytale as Victor settles in at Gate 67 and befriends many of the staff, even acting as a matchmaker with the passport control officer who stamps his documents every day as ‘unacceptable’.
Steven Spielberg’s films are always touched with sentiment, easily to be dismissed as ‘too American’. It is Spielberg raising some empathy for migrants and asylum seekers and their being victims of red tape. It is also Spielberg giving the Americans something feelgood at a difficult political time.
1.The films of Steven Spielberg, their humanitarian interest? Political implications, especially in 2004? The film as a Tom Hanks vehicle, Tom Hanks and his social concerns – and the credibility of his being in films with social concerns? The American public, world public, accepting him and his concerns?
2.The plausibility of the story, a foreign national being stranded because of political crises, because of legislation? The responsibility for the situation, the American government, airport officials? The repercussions in the native country?
3.The airport setting, its being confined, the detail of life at the airport, its layout, the various sections? The effect of the audience staying in the airport with Victor? John Williams’ musical score?
4.The dramatic aspects of the story, for Victor, his reasons for coming, his lack of English language, the bureaucracy? The gradual change, friendships, Amelia, the film becoming something of a fairy tale?
5.The portrait of the United States, legislation, migrant regulations, passport control, applications for visas, the war on terrorism, the aspects of high security? American officials, accepting responsibility (and passing the buck)?
6.The police at the airport, passport control, documents? Dixon and his being in charge, the interviews and action? His literal interpretation of regulations? His wanting to shirk his responsibility and pass it on to higher authorities? His being subject to inspections, his own promotion? His scheme to let Victor go, the double-talk, urging him to leave? The device of opening everything up for Victor to get away? His later tactics, fear, the issue of asylum, wanting him to say that he was afraid? His final exasperation, watching Victor’s progress through life in the airport, making friends? His blackmail at the end, threatening to sack all of Victor’s friends? Refusing to sign his pass? The irony of the police letting Victor through to freedom? Dixon’s exasperation?
7.Victor, Tom Hanks’s screen presence, personality? Victor’s age, experience, the mystery of his coming to the United States? His being refused a visa? The interviews with Dixon? Language difficulties, not having an interpreter? The background of his country, seeing it on the television, the revolution? His grief? The difficulties, not understanding what was going on, the continued request at the passport control, being considered Unacceptable? His being confined for so long in the airport? No prospects? The politics of his land, the presentation on American television? His own personal reaction? His going to gate 67? The meal vouchers and his losing them, Gupta and his angry reaction? Victor trying to help the young woman, breaking things? His trying to make a bed at gate 67, going to the McDonald’s? and eating crackers and mustard? His finding the device with the trolleys, getting the quarters, being able to pay for meals? Dixon and his manoeuvre to prevent Victor getting this money? The job applications, the phone calls – the interviews, the shop in the terminal? His being refused? His fixing things up in the construction, the reaction of the boss, giving him the job, his being paid in cash? The praise of his work? The crash with Amelia, falling? Their discussions, the books about Napoleon? His listening to her problems? Her asking about the meal, his having to refuse? The young man, his friendship, wanting Victor to be a matchmaker, giving him all the food he wanted? The messages to the passport control woman, the eventual presentation of the ring, the introduction to Enrique, the wedding? The dinner for Amelia, the staff all planning it, just like a restaurant? Her delight, her being called away? Dixon and the mystery of the Planter’s tin, the eventual explanation to Amelia, the autographs of the jazz people? Amelia and her getting him the visa, his seeing her with her boyfriend? The ending of the war? Dixon and his threats? Gupta and his getting the mop and stopping the plane? The possibility for Victor to go into New York City?
8.The trip to the Ramada Inn, the taxi driver, the sense of freedom, the jazz, the discussion with the player, listening to the music, getting the autograph – able to honour his father and go home?
9.Amelia, as a flight attendant, age thirty-nine, in a relationship with a married man, the ups and downs of the relationship? The crash with Victor, meeting him later, the bookshop, the Napoleon books, their talking, the bond between them, the touch of love, the meal, her having to go, getting him the visa? Going back to the lover? Seeing him at the front of the airport as she came out of the taxi? The film avoiding any false romantic liaison between them?
10.Enrique, his work at the airport, his infatuation with the passport control officer, wanting Victor to intercede for her(him?), the messages, giving Victor the meals, setting up the restaurant-like table for Amelia? The wedding, the celebration, his continued help?
11.The other members of the staff, their wariness of Victor? Gupta thinking he was a spy? With his job, protective? The black staff attendant, the friendship? Their support of Victor – especially at the end?
12.The broad staff of the terminal, the congratulations to Victor at the end, having got to know him, the gifts?
13.Dixon’s assistant, at the door, security, letting Victor out into New York City?
14.A blend of the serious, the comic and the emotional? The reality of the situation – the perspective of refugees and asylum seekers and their experience of bureaucracies, suspicions, bigotry? A romanticised story for the popular audience?
