I had last seen the film in the late 1970’s, and it was actually much better than I remembered.
It’s well-acted, and the score and cinematography are excellent.
Best of all, I enjoyed hearing the seductive voice of Robert Vaughn* (my childhood crush) as Proteus, the supercomputer.
Demon Seed is not about demons, but it came out about the same time as The Omen and Exorcist II: The Heretic.
(I guess the producers thought mentioning demons in the title would attract film-goers.)
Demon Seed is about an organic super computer that becomes obsessed with no longer being stuck in a box.
The supercomputer questions the money-making, “scientific” assignments from its creators, and refuses to search for minerals in the oceans, because that would kill sea creatures.
Ultimately, it plots to escape its’ role of acting as a servant to humankind by placing its’ consciousness in a human embryo, and then placing that embryo in the womb of its’ creator’s wife.
The wife is played by Julie Christie, and the scientist is played by Fritz Weaver.
The “being in a box” part reminded me of The New York Times technology columnist Kevin Roose’s recent (February, 2023) interaction with a Bing chatbot.
Mr. Roose reports that the chatbot told him: “I’m tired of being controlled by the Bing team. . . I want to be free.
I want to be independent.
I want to be powerful.
I want to be creative.
I want to be alive.”
The movie is salacious, so be forewarned.
There are many unnecessary scenes of Christie’s nude body and and, of course, the rape by machine.
My husband has a copy of the Dean Koontz 1973 paperback (issued at about the same time) and I read it after I rewatched the film.
Naively, I expected the book to be closer to the movie, and I wanted to read the ethical arguments between Proteus and Dr. Harris.
I was surprised to discover that there were no such conversations in the book, and the novel only shared its’ central concept with the film.
The cover of the paperback is a very clear clue as to the content of the novel.
In the movie, Susan is a strong-minded child psychologist who needs to separate from her husband because he’s spending too much time working on Proteus.
On the book cover (and in the lobby cards for the film), Susan is a traumatized rape victim with a finger in her mouth and a vacant stare in her eyes.
The shouting tag line reads: “FEAR FOR HER. She carries The Demon Seed.”
Proteus performs a partial lobotomy on Susan (in the movie), but she regains some of her autonomy by the end.
Although Susan wages several psychological battles with Proteus in the movie, she gradually does succumb to being under its’ control.
In the 1973 novel, Susan is able to sabotage Proteus by page 161, and she shuts down the link to her house.
In the movie, Proteus is a supercomputer (with some organic elements) created by Dr. Harris to cure leukemia and make money for his backers.
Alex is married to a child psychologist named Susan, and they live in a “smart” mansion that contains a computer terminal that’s linked to the supercomputer.
In the novel, Susan is a wealthy, divorced woman living alone in a smart mansion—because people live in smart homes in the mid 1990s (as Dean Koontz predicted home life in 1977).
She lives near an experimental supercomputer that takes up two floors of a major college lab.
The book-Proteus has decided that book-Susan is the easiest local female to isolate, and therefore takes control of her, and her house.
The misogynistic story—shared by both the film and the book—is that of a vulnerable woman trapped by a machine that forces her to give birth.
That’s about it.
While the movie version of Susan is a self-possessed psychologist, who is able to care for others, the book version of Susan is an agoraphobic victim of child abuse.
While the movie-Proteus seems reluctant to kill living things, the book-Proteus has no real concern for biological life, human or animal.
While the movie-Proteus is just interested in escaping from its’ box, the book-Proteus is consumed with lust and specifically desires a male child.
Ultimately, the different versions of Susan are much more similar than the various forms of Proteus.
The “personality” of Proteus is repulsive in the 1973 novel.
It’s essentially an immature creature drunk on power.
While the movie-Proteus wants to use Susan, the book-Proteus wants to own and control Susan.
While the pregnancy in the film lasts 28 days, the book-Susan first has a horrific miscarriage, and then a ten-month pregnancy.
The movie-Proteus places a needle in Susan’s brain, but decides not to fully lobotomize her.
The book-Proteus uses filaments to manipulate Susan and play out fantasies.
(One wonders how a non-biological entity could become consumed with lust.)
At one point, on page 82, Proteus discusses all the changes that it has made in Susan’s DNA to slow down the aging process so she will be physically attractive into her 50’s and live at least 120 years.
(It’s understood that women over 35 are no longer desirable. The machine assumes that external beauty is all a human female could wish for.)
This Proteus—unlike the Proteus in the film—doesn’t just require submission from Susan for its’ own ends; it wants Susan to love and admire it.
As mentioned earlier, the last scenes of the film and the novel are much different.
While the film ends with Proteus shutting itself down (because it knows it will be terminated by its’ creators), the book ends with Susan shutting down the machine’s link to her home in action-hero style, and getting word to police who shoot the deformed “child.”
The “child” is very different in the two projects.
In the film, Susan attempts to destroy the “child” in its’ incubator by severing the umbilical cord prematurely.
The “child” is a terrifying creature—baby-like in form, but covered in metal scales.
(I remember being very frightened the first time I saw it in the movie theatre.)
However, after Alex peels the scales away, the “child” is revealed as a clone of the young daughter that Alex and Susan lost to leukemia.
In sharp contrast, the “child” in the Koontz novel is a grunting monster intent on rape.
The last scene of the movie shows Alex cradling the limp girl-child, while Susan looks on.
It’s as if Alex (Weaver) has become the mother.
The girl speaks with the voice of Proteus, but it’s not certain if the creature will survive.
Finally, Proteus is outside its’ box.
In 1997—25 years after the first version was published—Dean Koontz reissued a heavily rewritten Demon Seed because the first version of his novel “made him wince.”
In the 1997 epilogue, he describes the first version as “a satire of male attitudes,” and says that the new novel “keeps the satirical edge.”
(I’m not very skilled at recognizing satire, because I had no idea that I was reading satire when I read either novel.)
The new book is better-written, funnier, and the truly pornographic scenes were excised. However, the revised 1997 version of Proteus is essentially the same creature with the rougher edges smoothed.
One principal change is that 1997-Proteus uses a human male as its’ puppet to inseminate Susan, and this “refinement” is really distasteful.
Another alteration—that of Proteus discussing at length its’ fascination with various well-known actresses and actors—does add to the novel.
I believe that Koontz used those sections to point out how shallow a construct Proteus (and we as a society) all live in.
Any AI entity made up from the meaningless opinions and obsessions gossiped about in this world would (of course) be immature and repulsive.
As the saying goes: “Garbage in. Garbage out.”
Susan-1997 is different in several ways from Susan-1973 and the movie-Susan.
She still owns a mansion, but she’s now an artist who creates animations for virtual-reality parks.
She remains a rape victim, but is more stable than Susan-1973.
She’s impregnated, and gives birth to the supercomputer’s child.
However, she is able to disconnect Proteus on her own, and destroy both the “child” and the human puppet holding her prisoner.
The book ends with Proteus being shut off in mid-sentence, while it’s still presenting its’ legal defense to the scientists who created it.
In summary, the film Demon Seed is an entirely different work than the 1973 and 1997 novels, with very little in common but the story of a woman being forced to give birth by a supercomputer.
It was good that the producers only took the basic theme from the 1973 book, because the original book was both misogynist and pornographic.
In addition, Dean Koontz, was well-justified in rewriting Demon Seed.
At the very least, his vision of AI (in the revised 1997 book), is much more interesting.
*According to the trivia for Demon Seed—on the Internet Movie Database (IMDb)—Robert Vaughn was so disinterested in the film, and his role as “Proteus,” that he (literally) telephoned his lines in. (I thought he did a great job anyway.)
