Essay on Westworld - American Dystopia

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Marine Baillot d’Estivaux

10/04/2021

American Nightmare Final Essay

Analysis of Robert Ford in Season 1 of Westworld:

From a Corporate Villain to a Heroic Sacrifice

“Have you ever questioned the nature of your reality?”

Already uttered in the first minute of the show, this question is periodically asked to the hosts of the futuristic park of Westworld.

Westworld is a weird-west series, which aired on HBO on October 2nd 2016. Created by Jonathan Nolan and Lisa Joy, it was inspired by Michael Crichton’s 1973 movie.

The series cultivates mystery, foreshadowing and unresolved narrative arcs to surprise and change the audience’s perception. Thus, turning back to the initial quote, it is both addressed to the hosts but also the viewers themselves. One illustrative instance is how, many were surprised by the series’ denouement with regards to Robert Ford. This final-episode reveal underlines the show’s true skill at using common cinematic tropes to build a narrative, which the audience fails to question.

Hence, one may ask the following research question:

How does Westworld lead its audience astray regarding Robert Ford, using the “mad scientist” trope?

In order to answer it, the following essay will proceed in three complementary parts. First, it will be demonstrated that the show does portray Robert Ford as an archetypal megalomaniac villain. Then, it will be displayed that Westworld was nevertheless, hinting at his secretive and ambiguous nature. Finally, this will culminate in the analysis of the cinematic reveal of his true noble intentions.

To begin with, Westworld first introduces Robert Ford as the archetypal corporate antagonist. In accordance to the “mad scientist” trope, he is visionary, controlling and self-seeking. To ease its audience into believing this, Westworld uses three distinctive devices that will be analysed.

First, the series highlights his total control over the cinematography and mise-en-scene. Robert Ford appears as a man fully aware and proud of the mastery he has, even over the show itself. An instance of this is the poignant dialogue he has with Theresa in Episode 4 in one of the park’s haciendas. The camera movement is entirely following his rhythm during the scene. The cinematography serves as his tool, mirroring his flux of words and the emotion

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he wishes to convey. As he eases into his threatening monologue, the shot-reverse-shots turn into a single close-up. This signals that he is taking control of the entire conversation and scene, as Theresa is now omitted from the frame. The dolly camera movement allows the frame to slowly shrink, resulting in an eerie feeling of oppression. It intimidates the audience, just like it does to Theresa, and reinforces the “all-powerful evil” image. This is reinforced by his further control of the mise-en-scene of the park, and thus the show. In Episode 2, he stops the rattlesnake with the sole use of his finger. His ability to stop any of the characters and the narrative itself convey the image of the conductor of an orchestra. Here, the narrative of Westworld, and thus the show itself, can be perturbed at any time and according to his will. Ford, once more, remains the archetypal antagonist, whose ubiquitous powers have corrupted him.

To add to this archetype, the repetitive allusions to a corporate god-like figure can be analysed. Indeed, the show frequently uses symbolis relative to divinities. In Episode 1, Robert Ford himself mentions that “you can’t play God without being acquainted with the devil”. This phrase confers that he is entirely conscious of his powers, and even regards them as relative to those of gods. Not only this, but it serves also as a justification of certain of his acts in his line of work. Such images are common to the “mad scientist” trope, as his innovations grant him abilities that he regards himself as divine. Moreover, Ford’s name itself is a symbolic apparatus used by the show. Hinting at Henry Ford, it portrays the image of a detached corporate genius at the head of a giant industry line. This is confirmed by the script for Episode 10, which indicates that the narrative is “like a chessboard” to him. It also further expresses his “nonchalance”, “his face [that] remains a mask”, and “chilling calmness”. Hence, the series makes use of these well-known symbols to construct the character of Ford, which will be overturned to a certain extent.

The last device used to reinforce the “mad scientist” trope that will be analysed is his pervasive off-screen presence. Just like it would be expected of a corporate giant, he is constantly mentioned in dialogues in which he does not participate. For instance, Bernard introduces him to the audience for the first time in Episode 1 as “the boss”. This first allusion is executed without having seen him on screen quite yet. In this manner, his hierarchy transcends his presence in the frame. His ubiquity remains for the entire season, as this first shot can be compared to his final ones in Episode 10. Before he arrives on stage to deliver his speech, the camera first films the people’s reaction before his arrival on screen. Another instance of this is Charlotte’s and Theresa’s “private” dialogue in Episode 7. Charlotte refers to him as “someone who’s created an empire” and who can just “snap his fingers”. Their secretive plot against him shows the power dynamics in place they are trying to shuffle. Once more, it highlights his control of his invention, of his “insane little kingdom” of Westworld, which is most characteristic of the “mad scientist”.

However, the show prepares the audience for the character reveal, as it hints at his secretive and ambiguous nature. The archetypal “mad scientist” portrayal of Ford seems to overlook certain complexities. If analysed in depth, Westworld provides hints of what is to come: Robert Ford is much more intricate than what may seem at first glance. This can be executed by focusing on three particular aspects.

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The use of colors can be first considered in this regard. Indeed, this tool is used by the series as an element of foreshadowing of his complex nature and intentions. From his introduction in the basement in Episode 1 to his final speech in Episode 10, his clothes are composed of black and white elements. Though he does wear the symbolic black hat, his most striking garments are white. For instance, his walk in the park in Episode 2 shows an important pigment saturation of his white sleeves and collar. In comparison, the colour of his clothes is not as clear-cut as the Man In Black’s costume, which symbolically reflects his darkened morality. Not only this, but the colours reflected by the light are also suggesting a certain ambiguity. During his final speech, the light in the frame comes from the front, leaving his back dark. Just like previous colors, they highlight an element of mystery that comprises the character of Ford. This shot also hints back at the quote: “you can’t play God without being acquainted with the devil''. According to him, there inevitably seems to be both an element of darkness and light present in us. Finally, it can be symbolic of his possible redemption: a dark past but overturned by bright future actions.

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