Dixon tries to have the police arrest Viktor, but the police let Viktor leave the airport instead. Viktor arrives in New York at the hotel where Benny Golson is performing and finally collects the last autograph.
Then he gets in a taxi, telling the driver, "I am going home. Cockroach B. North E. Squirrel Bullwinkle J. Erica Wang Mr. Heroes Wiki. Heroes Wiki Explore. Top Content. Bureaucrats Jester of Chaos. Pure Good Terms. Explore Wikis Community Central. Register Don't have an account? Yet unlike the Philip K. The Terminal reveals the dark corners of the dreamlike universe Spielberg has been creating for so long Wasser Like The Truman Show , The Terminal insists on how thin is the line between a surveillance system and the shooting equipment of reality TV, especially if surveillance cameras are fitted within a walled-in place, which is what the airport is to Viktor.
Few, however, have attempted to connect the two, for instance, by concluding that surveillance, here, reduces the world to the size of an airport and simultaneously gives the airport a worldwide scope.
This dimension is clearly elicited by an analogy with two other films: The Truman Show , as suggested above, but also Cast Away Zemeckis, , a film The Terminal is intertexually connected to through its star, Tom Hanks, who plays the lead part in both cases. He is in between places, in transit between two locations. He has to learn how to cope with a hostile environment, till he finally manages to escape. While Truman and Chuck Noland are outside of time, Viktor is trapped in between time zones.
He is also stuck in a space of exception, which prevents him from either venturing out into the U. Because he does not speak English, he interacts very little with an environment he finds very strange at first, which is what Chuck has to do on the island, and what Truman will have to learn how to do when he leaves the glass dome in which he was raised.
Like Truman, Viktor is constantly being watched. He is observed by the cameras of a directorial figure, Dixon, as Truman was by his creator Christof. For Viktor, this happens by chance, as surveillance unexpectedly turns him into a popular on-screen character. The main difference lies in the order of events, hence in the logical links between surveillance and entertainment.
The surveillance microcosm of The Truman Show creates a dreamlike world on the inside, the safest of places for a citizen to live in. Conversely, the outside was defined as a dangerous place. But this, for Truman, had little value compared to true freedom, a feeling he transmits to viewers who are encouraged to massively support his decision to leave.
The surveillance cameras kept him locked in, but his imprisonment only lasted until he found out where he really was. The surveillance around him was not directly repressive; CCTV did not so much monitor him to imprison him, as capture his daily routine for viewers to watch. And when he expresses willingness to leave, Christof organizes the script to make him afraid of an outside world where he would no longer be protected by constant surveillance.
Dixon and his assistant Thurman wonder why he does not want to leave when he is offered the opportunity of to do so. They try to instill a fear of Krakozhia in him, but he ends up fearing the U. These essential differences between the situations in both films suggest a new relationship to his surveillance environment, the airport, as well as to the outside world.
In many ways, security measures in the U. The list of things he is allowed to do or not do illustrates the imprisonment that awaits him, and is similar to the recommendations the inmates are given when entering state penitentiaries. Unlike Truman who has received an artificial identity at birth, Viktor has been deprived of nationality and identity by recent security measures.
Although Viktor is not a student, he is a visitor to the U. Through this development, The Terminal analyzes the impact of surveillance on the individual. What makes the film unique is the way a fairly traditional critique of current socio-political trends underpins a deeper, more philosophical concern for human ontology.
What is at stake, here, rather than just contemporary social issues such as the spread of surveillance, is how they may affect what essentially defines us as human beings.
The first consequence of this new state of surveillance on human beings is a general atmosphere of paranoia, which Spielberg is used to exploiting for its sensational quality Kendrick Surveillance, which is intended to create a sense of security, inadvertently places Viktor at the center of an entertaining TV show. Ironically, Dixon then uses the surveillance apparatus to frighten Viktor away.
After trying in vain to make Viktor illegally enter the U. Yet unlike Truman, Viktor does not seem very eager to leave his gilded cage. The first is to notice that cameras are now everywhere around us instead of being set up specifically to focus on one character.
This is underlined at the outset when Dixon focuses on a group of Chinese tourists at the immigration and naturalization service Fig. Looking down from his panoptic deck, then through the CCTV unit to get a closer view, he notices their Disney World sweaters and the conspicuous absence of cameras. To Dixon, this is a clue that allows him to—rightly—profile them as intruders.
As a result of the suspicion maintained by constant surveillance, paranoid reactions prevail among the inhabitants of the airport. He and other airport employees have Viktor lie through the luggage scanner prior to sharing their meal.
Even seeing his own country at war on television does not make him susceptible to fear. Unlike the Americans, he is not afraid of his compatriots. This may explain why his behavior looks so odd to others: he seems, as a foreigner, to discover a potential immanent to the airport that the other characters are blind to. Instead of doing everything he can in order to leave, Viktor manages to figure out how to cope with staying there.
Even during his stay, he does not become as paranoid as the other characters: on the contrary, he teaches them how to relax. Eventually, when offered the possibility of visiting New York, he stays there just long enough to fulfill the mission his father assigned to him, before eventually going home to his grim and desolate country.
Quite a falloff, indeed, from the lure of Disney World hinted at through the incident with the Chinese at the beginning of the film. In fact, his puzzling behavior makes sense for many reasons that have rarely been commented on.
First, Viktor had probably never planned to stay in the U. He has come to collect a signature for his father—nothing more—and the one-day visa he eventually gets is enough for him to do so. Like his father, he does not seem interested in coming to grips with American reality.
To him, the dream inside the airport is as good as it gets, and Spielberg exploits its utopian potential. As this final dialogue emphasizes, Viktor would have had to remain at the bottom of the social ladder had he stayed in the U.
He gradually becomes aware that being separated from reality by its audiovisual pictures is a soothing fact, but also an escapist decision. This is when he starts perceiving the American utopia as, in fact, a dystopia. Like a lost and battered suitcase, he has been claimed by no one. His homeland erupts into civil war and his passport becomes void.
He can't officially enter the US, but neither can he return to Eastern Europe. So he lives for months in the hermetically sealed microcosm of an airport concourse.
Some of Navorski's survival tactics are similar to Nasseri's, like bathing in the washroom, setting up a living area on a bench, and accepting food vouchers from airport workers.
But where the movie has embellished the story with madcap adventures and a fling with a flight attendant played by Catherine Zeta-Jones, Nasseri's life consists mostly of reading. His most recent book is Hillary Clinton's autobiography. Lately, though, he's had more visitors than usual. This urban legend is already the subject of three other films, two of them documentaries. Reporters and tourists visit and talk with him all day at his makeshift press lounge.
Yet, at the same time, "Alfred," as he is also known, seems to relish his celebrity. The original crisis began when Nasseri tried to travel to England from Belgium via France. But he lost papers declaring his status as an Iranian refugee. It's been confirmed that he was expelled from Iran in the s, but the famous squatter has since rejected his heritage - even denied he can speak Farsi - under the belief that his Iranian background is the cause of cause of his troubles.
No family members have ever contacted him. Summarizing the details of Alfred's bureaucratic nightmare since then isn't easy. Nasseri waited at Charles de Gaulle while Britain, France, and Belgium played a shell game with his case for years. At one point, in a classic Catch, Belgian authorities said they had proof of his original refugee papers, but insisted he pick them up in person - yet wouldn't let him into the country.
He has been jailed several times, and technically could be removed from the airport at any time. After a lengthy legal battle waged by his lawyer, the French government finally gave him the necessary documents to reside in France and legally travel. Nasseri is convinced he has no official identity. If he leaves France, he says, "There are soldiers there who shoot you dead.
Airport shopkeepers don't seem bothered by the fuss over their famous neighbor.
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