Bicentennial Man (1999)

The film begins in the near future (2005). A robot named Andrew (Robin Williams) has just been purchased by a wealthy San Francisco family comprising a father (known as Sir and played by Sam Neill), his wife (who is known as Ma’am and played by Wendy Crewson), who isn’t certain she likes the idea of a robot roaming the house, and their two small children, Miss (Lindze Letherman) and Little Miss (Hallie Kate Eisenberg), whom Andrew is eventually entrusted with helping to raise.

Although designed as a purely utilitarian appliance, it becomes apparent early on that Andrew is no normal robot.

He shows signs of creativity, curiosity and friendship. But he still has much to learn about humanity, and he has an unquenchable thirst for information.

Sir takes him under his wing and begins teaching him about pop culture, etiquette and more.

He even teaches him how to tell a joke, which leads to one of the best scenes in the film, in which Andrew starts belting out the punch lines at a not-so-appropriate time.

But Andrew wants so much more than he has. He loves the family he lives with, but he desires to be more humanlike. He has more facial expressions installed, but it’s still not enough. Andrew wants his freedom.

It’s a hard-won idea. Sir doesn’t want to give up his friend and doesn’t understand Andrew’s desire to be on his own. But Sir relents, and Andrew sets out on his own.

And this is where the film should have ended.

But no. What could’ve been a succinct story with a nice message about everyone deserving to be free just kept on going and going and going and going. The Energizer Bunny has nothing on this film.

Now, Andrew wants to be human as well. He meets a robotics expert, Rupert Burns (Oliver Platt), who helps him look human.

Again, this isn’t enough. He wants love as well. That’s when Little Miss’ granddaughter steps in. (It’s been a long journey to become human, so long that Little Miss has grown old.)

Portia (Embeth Davidtz, who also plays Little Miss as an adult) is a kind soul, just like her grandmother. But again, this isn’t enough for Andrew. He wants the president of the United States to officially say he is human.

As ridiculous as the premise seems, the film – based on a story by Isaac Asimov – initially shows promise. It seems like a sweet tale, much like Pinocchio, in which a wooden puppet desires to become a real boy. But the film’s very sombre and serious tone is all wrong – It’s about a robot for Pete’s sake.

And the film, directed by Chris Columbus, struggles to be profound or convey a deeper symbolic meaning, but it gets too wrapped up in achieving that end that it never quite gets there.

Andrew
Robin Williams
Little Miss (Amanda Martin) as an adult/Portia Charney
Embeth Davidtz
Sir (Richard Martin)
Sam Neill
Rupert Burns
Oliver Platt
Galatea
Kiersten Warren
Ma’am (Rachel Martin)
Wendy Crewson
Little Miss (Amanda Martin) – 7 Yrs. Old
Hallie Eisenberg
Miss – (Grace Martin) 9 Yrs. Old
Lindze Letherman
Miss (Grace Martin)
Angela Landis
Bill Feingold
John Michael Higgins
Lloyd
Bradley Whitford
Lloyd – 10 Yrs. Old
Igor Hiller
Dennis Mansky
Stephen Root
Frank
Quinn Smith
Monica
Kristy Connelly
Charles
Jay Johnston
Lloyd’s Wife
Marcia Pizzo
Feingold’s Assistant
Paula DuPré Pesmen

Director
Chris Columbus

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