Beneath The Planet Of The Apes (Ted Post, 1970)

"Mr. Taylor, Mr. Brent, we are a peaceful people. We don't kill our enemies. We get our enemies to kill each other."

Introduction

The end of Planet of the Apes may give the impression of a further story. But, if you think about it, there is not much to explore. Taylor (Charlton Heston) has realised that earth is destroyed, and he is the only speaking human on the planet. He has Nova (Linda Harrison) and, originally, an ending was toyed with whereby Nova and Taylor had a child, but this was scrapped for the Statue of Liberty finale. It was 1970 and, in terms of sequels, they only had a few around to be inspired by. Paul Dehn was hired to write the screenplay, a writer who co-wrote Goldfinger, a sequel that completely re-invented the James Bond franchise. Though, like the James Bond films, Dehn seems to think that the best way to continue to Planet of the Apes story, is by imitating the basic set-up of the previous film. In terms of 007 influencing the Apes, I think a tunnel-sequence does seem to recall a little bit of Dr No. But Dehn does seem to go a different direction in the final few acts - with an ending you won't see coming.

The Ape-World Has Been Disrupted

This time, the ship is on a rescue mission to save the astronaunts in the first film. Brent (James Franciscus) is the only survivor. Unsure what to do, he comes across Nova who is wearing Taylors dogtags. Through a series of flashbacks, we realise that Nova and Taylor continued to travel through The Forbidden Zone after realising they were on planet Earth. Taylor and Nova witness the ground breaking up, and fire emerges, until suddenly Taylor disappears - leaving Nova alone. Brent and Nova travel to the Ape City and the council are in session. The Gorilla's are keen to explore The Forbidden Zone and destroy all human life as, because of Taylors actions, the Apes do not trust humans anymore and know that they present a threat.

So far, it is very much the same. Nova and Brent soon find Cornelius (The only film in the original franchise to not include Roddy McDowell, instead casting David Watson) and Zira (Kim Hunter), who again, trust the humans. But unlike the first film, the Apes are not as fearful about exploration. The Gorillas are keen to explore for the sake of dominance and power. We see similar sequences as Gorillas chase the humans, but this time Zira assists them in escaping too. Almost by accident, as Brent hides, he realises the planet is Earth himself and he explores underground to find a hidden human race who worship the A-Bomb. This is where the film becomes very strange and, changes direction completely to the first film. Humans exist and they are powerful, using their minds to control others...


Arrogance of Peaceful People

Planet of the Apes attacked people who blindly followed a faith - the idea that true exploration and discovery is hindered by those of a particular doctrine. The dwellers who exist underground are humans who have been irreversibly scarred. Though the people 'beneath' the planet are 'Peaceful People', they have the power to control other peoples minds and will comfortably let others kill each other rather than commit murder themselves. Opposed to the society established by the Apes, ignorant to the reality outside of their own borders, these dwellers are arrogant and pray to a bomb. An A-Bomb.

This is where the full strangeness of the film kicks-in. We witness a prayer ceremony, very-much modelled on Catholic Mass. The repetition of traditonal prayer mixed with uncomfortable, bomb-related notions.

"Glory be to the Bomb, and to the Holy Fallout. As it was in the beginning, is now, and ever shall be. World without end. Amen"

"May the Blessings of the Bomb Almighty, and the Fellowship of the Holy Fallout, descend upon us all. This day and forever more."

This is where, originally an attack on religious-dogma and blind-faith, appears to be more specific in attacking Catholicism and the corrupted "history" attached to the faith. Words have been switched from "Glory be to the Father, the Son and the Holy Spirit", so that slight changes are highlighted. Over time, it seems, words and meaning have changed. How can we still stick to a Bible, a document thousands and thousands of years old, when clearly its true meaning and intent could have been changed?

Akin to fundamentalistm and terrorism, these religious characters are dangerous and, though they do not believe it, they are a threat to the society they represent. Their humanity has been replaced by a deeply-rooted sense of purpose - the bomb. They can force the Apes to see visions which are untrue as if to highlight how faith is beyond what you can see in front of you, and what is around you. It is this same attitude to faith that ensures Dr Zaius (Maurice Evans) and General Ursus (James Gregory) push through the vision and manage to break past. These apes have seen too much - and no image will satisfy their deep-desire for dominance of the planet. Both faiths are in opposition and we see the age-old argument as two conflicting dogma's compete for control of a civilisation.

The Definitive End

So often, to mock the 'don't spoil it' attitude of others, I will use a nuclear bomb as an example of what the film includes ("Don't tell me what happens at the end of The Deer Hunter!"/"Of course I won't, as long as nobody has told you about the nuclear-bomb explosion, you should be fine!" *applause*). Word to the wise, don't mention that finale for this film because that does indeed happen. Before the bomb even goes off, the vast majority of the cast are killed off, and Taylor, struggling to stand manages to limp to the bomb and set it off. Boom. Credits.

The fear of the unknown has stopped true peace. Again, man destroys itself in it's efforts for dominance. Charlton Heston returned for his role under the assumption that this would be the end of the Planet of the Apes saga - indeed, he never returns until Tim Burtons Planet of the Apes in 2001. But, the producers had other plans. The final act shows the fight between Brent and Taylor amongst the deformed-humans and Gorilla Apes, with Dr Zaius alongside them - until the bomb hits, killing them all off. Cornelius and Zira were not amongst the fighters though, and for good reason ...

Touch of Evil (Orson Welles, 1958)

"This isn't the real Mexico. You know that. All border towns bring out the worst in a country"

Introduction

Film Noir is always touted as one of film-lovers favourite genres. The deep shadows and sharp light beams that litter the screen provide a moody and classy atmosphere. Ironically, having written a post recently about having an anti-genre preference, here I will be discussing a 'staple' of the Film Noir film genre. Initially, I watched the film travelling between Birmingham and London - and fell asleep. I blame the night before and not Orson Welles.

The Set-Up

The film begins with a flawless 3-minute sequence as an anonymous bomber plans to destroy a car as it crosses the border from Mexico into American territory. We see Charlton Heston playing a Mexican, with his wife cross-by and walk between the car and the sidewalk for three-minutes and, as someone who had not seen this film before, I found it very difficult to not get twisted in knots. The fact that Heston is almost unrecognizable - looking like Clark Gable - in comparison with the epic roles he has played in Planet of the Apes and Ben-Hur. Put it this way, I didn't recognise him and thought the bomb was meant for him. When we are presented with the catastrophy - this sets up the investigation. Both Vargas (Heston), a Mexican Detective, and Quinlan (Welles), the US detective, both try and find out who the bomber is. This is no simple who-done-it as Quinlan has his own methods of finding the bomber ... and Vargas slowly realises that Quinlan's form of 'justice' isn't the same as his...

Corrupt Justice

Vargas is Mexican cop and Quinlan (Welles) is US detective - and the murder is unclear which 'district' it falls within and so both cops follow the case - until Vargas realises that the primary suspect has had evidence placed on him. By Quinlan. Syd Field wrote about how films are broken into three different parts - broken up by 'plot points' and this film clearly depicts this theory. In the opening act we are watching to see who is responsible for the bomb, but after realising everything is not what it seems, the who-placed-the-bomb question is irrelevant. The question is How-Corrupt-is-Quinlan? He is a racist cop - he clearly has a problem with Mexicans - referring to them to as 'half-breeds'. Vargas is a moral cop and he attempts to find out how bad Quinlan actually is. The rub is whether he will find this out - Quinlan has allies in drug-dealers who equally want to take down Vargas. It shows how, sometimes, you are more on your own when you have strong principles and morals.

Tough To Be Good

In fact, this is exactly the story. If we reflect on Vargas through this story we realise that - not only is he often on his own - but it is his wife who is attacked and his success in taking down a drug-dealer elsewhere has a knock-on effect and is part of the reason he is despised on this case. It is only in the last act that we see Quinlan get his comeuppance... and even then, Quinlan placed the evidence on the right guy as we hear how the suspected bomber admits to his crime.
When reviewing 'classic' films, it is worth considering why they are deemed 'classic' at all. The finale especially is iconic as it shows how expressionistic Welles can be. We know from Citizen Kane that angled camera-shots and sharp lighting are all part of the cinematic experience - and it is no different in Touch of Evil. We see the treacherous landscape Vargas has to stand upon to pick up signal. The world is broken and twisted and this reflects the broken and twisted nature of justice - and the power that can be abused by the police. Firther to this, the corrupt world is reflecting in the outcomes as even the double-cross of 'Pete' (he who always found the planted evidence without realising it was planted) on Quinlan ends in his death - he's a good cop and he is the only reason Quinlan is proved a fraud by Vargas - but he dies for his moral actions.

It is a seedy world, portraying strip clubs, brothels, drug-dens, and a shocking scene as Grandi's 'boys' hint at rape when attacking Vargas' wife. The small line " you get her legs" provides an exceptionally sinister undercurrent to the world portrayed. Small touches add to the envronment - especially in the guise of a 'night' guy within the Mitador Motel - he twitches and looks around wide-eyed. Ironically, this is not the only time Janet Leigh comes across a strange motel character/owner as, only two years later, she would be staying at the Bates Motel in Psycho.

Timeless Talking Points

This is clearly an important and iconic film - noticably in the casting of Charlton Heston and Orson Welles, but additionally in the use of camera and style of filmmaking. What raises this to 'classic' is through a timeless narrative that forces you to consider what is justice and what is not. Quinlan is bad, that is clear, but he seems to be accurate, through years of policework, to highlight the 'type' of person a criminal is as his planting-of-evidence is accurate. My parents tell me how, during the 80's, if they spoke in their thick Irish accents when crossing between England and Ireland, it was almost guaranteed that they would be seached due to the conflicts. They accepted this racial-stereotyping, but we continue to see this as Muslims are searched and checked on a regular basis following 9/11 and 7/7. Quinland planted the evidence, and this is clearly wrong and corrupt - but, his 'feeling' was right and you are expected to question where his ethics come from because he clearly believes in his morals as Vargas believes in his.

A-Z #21: Ben-Hur

You can pick up hundreds of DVD's for a round-pound each - it doesn't matter. Its never about quantity, its about quality. A-Z is my way of going through my collection, from A-Z, and justifying why I own the films... or you can tell me whether I should sell 'em...

#21 - Ben-Hur 

Why did I buy it?

A few reasons which, if you are reading these points, no doubt you will gather - first up, the most successful Best Picture Oscar winner. It won 11 Academy Awards and was only matched 48 years later by Titanic and then a few years after that by The Lord of the Rings: Return of the King. Fact is, it has never been topped.

Secondly, my brother - the Bangor/Bath Rep - and I have always joked about this film. It felt like, when we were younger, our Saturday and Sunday afternoons were plagued by this film taking over the family TV. Unlike the kids of today, we had our NES set-up in the lounge so everything had to be shared ... but ultimately Dad chose what was on TV and, if Ben-Hur was on, there was no way we would sit there for four-hours until he was finished. We would simply remain gutted and leave the room - potentially setting up our NES with the crappy black-and-white TV. Duck Hunt was no fun on the blac-and-white TV. [Second] Fact is, I never sat and watched the whole thing - though we would mock my Dad endlessly for it - so I knew I had to at some point... and by purchasing this sweet, 4-DVD boxset, I knew that I would eventually watch it...

Why do I still own it?

The Best Picture point still stands. Sarah and I watched it over a weekend - 2-hours Sunday and 2-hours Saturday - when we lived in Finchley, North London. Personally, I love the Jesus Christ parrallel story - how, rather than seeing God-as-man, we see, just a man who is broken down to nothing - ut is forced to stand up. The chariot-race is the stuff of legend and, I think there truly is something incredible about such a huge, epic story - I mean, I don't even think Gladiator is on such a huge scale: does Gladiator take on God himself? without even showing his face?

But you may disagree - shall I throw Ben-Hur to the lions?

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