Over the last 30 years, Logan's Run has become somewhat of a laughingstock, the poster child of bad '70s science fiction. Its mention evokes images of cheesy sets, bad action, silly plotting, and heavy-handed yet ultimately empty social commentary. Is this reputation deserved? On viewing it recently, I have to say, no.
That's not to say that Logan's Run doesn't have its flaws. Its main problem is the dialog, which is often leaden, unrealistic, and exposition-heavy. This creates an unfortunate challenge for the actors, who often appear to be visibly struggling to make a scene work despite the stupid lines the script gives them.
But once you get beyond that, there's a lot of good stuff to be found. The plot is tight, and Logan's gradual shifts from undercover agent trying to discover the whereabouts of hundreds of unaccounted-for Runners, to becoming a Runner himself, to revolutionary dedicated to ending the false "Renewal" ceremony, ring true and engage the viewer's sympathies. The sets, while certainly dated (particularly in technological terms), are impressive and evocative. And if anything, the film's vision of a future obsessed with youth, beauty, and obedience is even more meaningful today than when it was released.
The concept of Sanctuary is particularly well handled. Early in the film, Sanctuary is a legendary place, a haven for Runners who manage to escape, which no one inside the dome has ever seen or had contact with, yet inspires Runners to attempt escape from their society's strict codes of behavior. Later, we learn that there is no real Sanctuary; the Runners who pass beyond the final gate and escape from the Sandmen have been captured and frozen by a malfunctioning food-storage 'bot, and there is a strong implication that Logan and Jessica are the first to fully escape the dome and reach the outside. What they find is a real Sanctuary, a lush, green world where people could live freely, without the oppressive restrictions of dome society.
Other notable features include Peter Ustinov's wonderful performance as the confused, lonely Old Man, living in the ruins of Washington, D.C., and Logan's interrogation scene on returning to the dome, where holograms are used to represent the computer pulling information out of his brain.
So, why is this film ridiculed? I have a theory. Within about a year, Star Wars was released, and literally changed the audience's expectations of how an SF film should look. Logan's Run, with it's clean, simple design, human scale, and strong moralistic tones, represented the last gasp of a now-obsolete style of film-making, and as such, suffered greatly in comparison to the new wave of SF films. I think it deserves another look.
That's not to say that Logan's Run doesn't have its flaws. Its main problem is the dialog, which is often leaden, unrealistic, and exposition-heavy. This creates an unfortunate challenge for the actors, who often appear to be visibly struggling to make a scene work despite the stupid lines the script gives them.
But once you get beyond that, there's a lot of good stuff to be found. The plot is tight, and Logan's gradual shifts from undercover agent trying to discover the whereabouts of hundreds of unaccounted-for Runners, to becoming a Runner himself, to revolutionary dedicated to ending the false "Renewal" ceremony, ring true and engage the viewer's sympathies. The sets, while certainly dated (particularly in technological terms), are impressive and evocative. And if anything, the film's vision of a future obsessed with youth, beauty, and obedience is even more meaningful today than when it was released.
The concept of Sanctuary is particularly well handled. Early in the film, Sanctuary is a legendary place, a haven for Runners who manage to escape, which no one inside the dome has ever seen or had contact with, yet inspires Runners to attempt escape from their society's strict codes of behavior. Later, we learn that there is no real Sanctuary; the Runners who pass beyond the final gate and escape from the Sandmen have been captured and frozen by a malfunctioning food-storage 'bot, and there is a strong implication that Logan and Jessica are the first to fully escape the dome and reach the outside. What they find is a real Sanctuary, a lush, green world where people could live freely, without the oppressive restrictions of dome society.
Other notable features include Peter Ustinov's wonderful performance as the confused, lonely Old Man, living in the ruins of Washington, D.C., and Logan's interrogation scene on returning to the dome, where holograms are used to represent the computer pulling information out of his brain.
So, why is this film ridiculed? I have a theory. Within about a year, Star Wars was released, and literally changed the audience's expectations of how an SF film should look. Logan's Run, with it's clean, simple design, human scale, and strong moralistic tones, represented the last gasp of a now-obsolete style of film-making, and as such, suffered greatly in comparison to the new wave of SF films. I think it deserves another look.