I decided to watch and reassess "Forbidden Planet"{1956}. I've always felt that it was somewhat over-rated as a classic fifties sci-fi film. But it certainly still does have its moments.
On the negative side, the critics have criticised the performance of Anne Francis as "Altaira" {Alta}. There's little doubt but that the "romantic" plot element in the film is by far the worst thing about it. The "love" of Alta and Commander Adams {Leslie Nielsen} is almost completely psychologically unmotivated. It is contrived, silly and plot-forced. It's a relationship that just happens.
But is this because Anne Francis is a poor actress? I don't think so. In 1960 Francis played a manikin come to life in "After Hours", a Twilight Zone episode and did so with considerable sensitivity. The role in which she was cast in Forbidden Planet was itself a terrible, limited, stereotypical part that could offer no challenge to any actress.
Part of the problem may lie in the nature of Science-Fiction itself. It is a genre which is heavily theme-oriented and usually relies on the idea of human manipulation of the external environment through scientifically created artifacts. "Soft" sci-fi tends to emphasize the areas of psychological and sociological extrapolations. For the most part, the idea becomes the great central focus. In this situation it is certainly all too easy for deeply felt human emotions to simply be taken for granted. That is what happens to the romantic love element of the plot here. Alta is the heroine so she has to fall for the Commander who has to rescue her from her deluded father so they can live happily ever after. Neither Francis nor, for that matter, Nielsen has much chance to shine in that kind of scenario.
On the positive side, the film has some excellent and striking set designs. The Shuttle shaft section is particularly impressive. The "Id" monster is quite an effective creation. Pidgeon is good as Dr Morbius, the deluded scientist who finally redeems himself.
Perhaps the best quality of the film is the very one that should be good in science-fiction. "Forbidden Planet" does have a profound, though-provoking central theme. The alien Krell--the super race who have disappeared--become metaphors for the human race. In them we see that ultimate destruction lies not in the things created through science but in "subconscious hate, lust for destruction". The tendency of the human condition is to twist, deform, and destroy that which in itself is good. Even the super-race was imperfect. So are we.
It is a theme we see too in "The Day the Earth Stood Still". There it is presented in another variation of the danger of apocalyptic destruction. "This Island Earth" is yet another examination of the same concept. In some ways these films are scientific recreations of the great religious dogma of Original Sin! It has been said that "Forbidden Planet" is a scientific meditation on Shakespeare's "The Tempest". Forget it! Any resemblance to the great Late comedy of the Bard is so vague as to appear purely coincidental. Enjoy the film for what it is: a solid, often brilliant--if somewhat flawed--study of human fallibility.
On the negative side, the critics have criticised the performance of Anne Francis as "Altaira" {Alta}. There's little doubt but that the "romantic" plot element in the film is by far the worst thing about it. The "love" of Alta and Commander Adams {Leslie Nielsen} is almost completely psychologically unmotivated. It is contrived, silly and plot-forced. It's a relationship that just happens.
But is this because Anne Francis is a poor actress? I don't think so. In 1960 Francis played a manikin come to life in "After Hours", a Twilight Zone episode and did so with considerable sensitivity. The role in which she was cast in Forbidden Planet was itself a terrible, limited, stereotypical part that could offer no challenge to any actress.
Part of the problem may lie in the nature of Science-Fiction itself. It is a genre which is heavily theme-oriented and usually relies on the idea of human manipulation of the external environment through scientifically created artifacts. "Soft" sci-fi tends to emphasize the areas of psychological and sociological extrapolations. For the most part, the idea becomes the great central focus. In this situation it is certainly all too easy for deeply felt human emotions to simply be taken for granted. That is what happens to the romantic love element of the plot here. Alta is the heroine so she has to fall for the Commander who has to rescue her from her deluded father so they can live happily ever after. Neither Francis nor, for that matter, Nielsen has much chance to shine in that kind of scenario.
On the positive side, the film has some excellent and striking set designs. The Shuttle shaft section is particularly impressive. The "Id" monster is quite an effective creation. Pidgeon is good as Dr Morbius, the deluded scientist who finally redeems himself.
Perhaps the best quality of the film is the very one that should be good in science-fiction. "Forbidden Planet" does have a profound, though-provoking central theme. The alien Krell--the super race who have disappeared--become metaphors for the human race. In them we see that ultimate destruction lies not in the things created through science but in "subconscious hate, lust for destruction". The tendency of the human condition is to twist, deform, and destroy that which in itself is good. Even the super-race was imperfect. So are we.
It is a theme we see too in "The Day the Earth Stood Still". There it is presented in another variation of the danger of apocalyptic destruction. "This Island Earth" is yet another examination of the same concept. In some ways these films are scientific recreations of the great religious dogma of Original Sin! It has been said that "Forbidden Planet" is a scientific meditation on Shakespeare's "The Tempest". Forget it! Any resemblance to the great Late comedy of the Bard is so vague as to appear purely coincidental. Enjoy the film for what it is: a solid, often brilliant--if somewhat flawed--study of human fallibility.