On top of that, it was the first film to use transparency in 3D CGI (the solar-sailor simulation). To output to film with the level of sharpness and smooth gradients seen in TRON, you'd need at least 24 or 32-bit colour, with a horizontal resolution of approximately 3000 to 4000 pixels. The truth is, the number of colours displayed and the resolution shown in the computer-generated components in TRON is higher than most desktop displays even today. And despite many who have said that its graphics are primitive, they're confusing resolution with texture-mapping. Of most obvious interest is the fact that TRON pushed the computer graphics technology of the time to its limits and beyond. And for those who think TRON is a Disney film watch the production notes and you'll discover that this is not a Disney film (although they did fund it). In fact, to allude to the type of story that the audience is being presented with, TRON does a near-quote of Alice In Wonderland, with 'Stranger and stranger.' Perhaps Kevin Flynn fell down the rabbit hole . However, never is the audience expected to believe that this is the way the computer world really works or that a person could ever be zapped into a computer. I find it surprising that many are critical of the 'unbelievable' aspect of this film. Then there's RAM's human counterpart asking Alan if he can have some of his popcorn. He shows up earlier in the film as Peter the suit who was watching Dillinger's office. However, we see a number of other characters show up here and there, in more subtle form: For example, there's Sark's second in command on the bridge of the carrier. Flynn and Clu, Alan and Tron, Laura and Yori, Gibbs and Dumont, Dillinger and Sark. The obvious parallels are with the use of the same actor for each character's counterparts in the digital world. And, just to enhance this metaphor, Dillinger's helicopter is shown with neon-red lines, and the final fade to black is preceded with a time-lapse of the city suggesting data running along traces. There is the world of the user (almost a god or demigod motif), contrasted with the world of the programs (very much a metaphor for our world). One of TRON's greatest strengths lies in its extensive use of parallelism. And, although it was originally panned by critics, those who have taken the time to look closer, have noticed that there is more to this film than there first seems to be. In 1982, TRON (along with Blade Runner) was nothing short of breathtaking. As for my take on this landmark motion picture, I have to admit that I will always be able to reflect on it in its original context. Now here's a film that seems to generate a wide spectrum of reviews.
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