Whizzer-2

The 1956 movie, "Forbidden Planet", was the first science fiction film produced for $1 million by a major studio, MGM. The film excels in many aspects, particularly its exceptionally intelligent story. Its flaws are minor. The film is based on a story/screen treatment, "Fatal Planet", by special effects expert, Irving Block and his writing partner, Allen Adler. The screenplay was written by Cyril Hume; directed by Fred Wilcox. Filmed in CinemaScope and Eastmancolor. "Forbidden Planet" boasts of great technical achievements in special effects,set and art design for that time period: Art Lonergan's sets of the spaceship, Morbius' home and the Krell laboratory were lavish, massive and stunning. The planet Altair IV's strange but beautiful atmosphere was achieved via a 10,000 ft cyclorama painting. The 6'11" Robby The Robot was a superb effects design, as was the "Id Monster", created by Disney Animator, Joshua Meador. The eerie, all-electronic score by Louis and Bebe Barron, was a first, originally planned to be only a special effects subpart of Harry Partch's traditional score. Under the patronage of avant garde' composer, John Cage, the Barrons created a score more experimental than compositional: modeled on emotional reactions of human nervous systems through cybernetics. The story, set in 2257 CE, involves Commander Adams and crew travelling from Earth to Altair IV, some 17 light years away, to investigate the whereabouts of an Earth expedition sent there 20 years earlier. They find only Dr. Morbius, his daughter and their trusty robot, Robby. Morbius tells Adams that the Belleraphon crew died at the hands of a mysterious invisible monster. Morbius tries to discourage the investigation, but to no avail; matters worsen when Adams and Altaira become romantically involved. Suddenly, various members of Adams' crew are mysteriously killed; it turns out that Morbius, having gained great knowledge and power via technology of the Krell - a super-advanced civilization who once inhabited Altair IV - is once again subconsciously creating via telekinetic materialization, the very monster he claimed to have killed the Earth colony. In the end, Morbius is destroyed along with his Id Monster, while Adams, Altaira and remaining crew return safely to Earth as Altair IV blows up via a thermo-nuclear detonation device. FP's story,loosely based on Shakespeare's "The Tempest", features Walter Pigeon(Dr.Morbius)as similar to Prospero, the exiled Duke of Milan; Anne Francis(Altaira) as his beautiful daughter like Prospero's daughter, Miranda; Morbius' Robby The Robot similar to Prospero's dutiful servant, the spirit Ariel; Leslie Neilson(Commander Adams) analogous to Ferdinand, Prince of Naples; and Morbius' subconscious "Id Monster" paralleling Caliban, the Witch Child. Comparative Analysis: Similarities between "FP" characters and those of "The Tempest": Morbius and Prospero both live in remote locations, the first on a planet, latter on an island. Both have sheltered daughters who have had little human contact and are to be romantically involved with suitors from afar. Both men have acquired great power and knowledge, Morbius via advanced alien technology and Prospero by magic. Both have non-human faithful servants, Morbius has Robby while Prospero has the airy spirit, Ariel. Commander Adams is the suitor of Altaira and Ferdinand,Price of Naples is suitor of Miranda, both men have honorable titles. Altaira and Miranda are similar young women who have been raised solely by their fathers for many years and know little of the world. Morbius' "Monster of the Id" and Caliban, the Witch Child, are analogous insofar as they are evil, elemental, bestial entities. Both are called "monsters" in respective dialogue. Differences - Morbius is fatally flawed, while Prospero is not. Morbius' possessiveness of both daughter and Krellian knowledge proves to be his undoing. OTOH, Prospero uses his knowledge and power to punish and discipline in a constructive way to benefit of all, including his enemies. Morbius' "Id monster" and Caliban are different in that former is an internally projected-outward materialization, while latter is a true entity unto himself. Prospero always has Caliban under control, even to the end, while this is not the case with Morbius. It is interesting to note that in "The Tempest", Ariel oscillates between visibility and invisibility, while in "FP" , it is the "Id Monster". (The Id, a Freudian conception, denotes an instinctual part of the psyche seeking constant gratification, regardless of the consequences to others; e.g., Caliban attempting to rape Miranda, in spite of previous kindness from her and her father.) The film and play end differently due to character differences in Morbius and Prospero: "Forbidden Planet" on a bittersweet note, and "The Tempest" on one of a fairy tale.

Concluding Comments: Dr. Morbius called the Krell, "A mighty and noble race", yet they vanished thousands of years earlier, leaving one to presume that they had psyches similar to Earthians, and like Morbius to come, succumbed to powerful subconscious "Id Monsters", i.e., the dark sides of themselves. Seen thusly, "Forbidden Planet" is a cautionary tale about various civilizations and individuals limited capacities to control immense power. "Forbidden Planet" always seems to inspire awe and wonder,as well as intelligent discussion and rightfully deserves a place alongside other enduring sci-fi classics as "Metropolis", "War of the Worlds" and "2001: A Space Odyssey".

A shoestring budgetter directed by Edgar Ulmer. One of the first (if not the first) alien invasion films. The little alien, a child-like being with a big, solemn face, is known to Scottish villagers as 'the bogey' and strikes mortal terror into their hearts with his HypnoRay, a laserlike beam which reduces them to easily programmable zomboids. His motives are unclear throughout the film until a hypnoidal Dr. Mears 'spills the beans' near its end. Strong points: eerie atmosphere, production design; moody 'film noir' photography, engaging music score and interesting story. Weak points: muddled script(more plotholes than a Stephen King cemetry); stilted dialogue and wooden acting. Recommended only for diehard 1950s sci-fi fans(like myself)- this film is both a joy and a disappointment.

An entertaining film, marred by a ridiculous ending. What's that you say? Hmmmm...let's make like the parasitic aliens and tune in on Sam's thoughts: "Yeah Dad, I'll obediently comply with your orders

and go off to stoke my relationship with Mary, while ignoring that I had only recently, and of necessity, fired a bullet into you, and then to effortlessly eradicate any concern whatsoever for your welfare as attendants cart you off to the hospital, in inexplicable contrast to what I had experienced emotionally a few minutes earlier as you lay on the ground bleeding, and me thinking that you might possibly be dead. And I so wish you could be here now, watching me and Mary walk down the street as One in the final shot." But what the heck, I like the movie for the most part - as I did "Predator" with it's absurd ending. "The Puppet Masters", as Maltin has said, lost some of it's potential edge, due to it's well-worn theme (initially made in 1958 via the low-budget, unauthorized version entitled "The Brain Eaters"), but it's nicely paced, with good performances, convincing, if revolting special effects, and a script at least moderately faithful to the Robert A. Heinlein 1950 classic novel bearing the same title. Maltin awarded "The Puppet Masters" with 2&1/2 stars out of a possible 4. Me too.