Escape from the Planet of the Apes

Dir: Don Taylor, 1971. Starring: Roddy McDowall, Kim Hunter, Bradford Dillman, Natalie Trundy. Science Fiction.

Once you can get past the absurdity of the set-up of Escape from the Planet of the Apes, the movie turns out to be the best of the sequels to the original brilliant sci-fi film Planet of the Apes. To recap, in that first film, an American astronaut, Taylor (Charlton Heston) traveled through space and returned to earth deep into the planet’s future where apes ruled and humans were just stinky wild mutes. In the less exciting but still watchable first sequel, Beneath The Planet of Apes, another astronaut, Brent (James Franciscus) follows Taylor into the future as ape hostility towards man is growing. Brent and Taylor finally meet up in an underground city where humanoids worship an atom bomb. Eventually apes attack and a dying Heston sets off the bomb, destroying earth and seemingly putting an end to the franchise. But, like Rocky III, the third film found a fresh take on the story and turns out to have a lot of fun on its own terms.

In this one, to the shock of the world, three apes in space suits land on present-day Earth (a very groovy early 1970s) in Taylor’s spacecraft. It turns out it’s archaeologist Cornelius (Roddy McDowall) and his wife, animal (human) psychologist Zira (Kim Hunter), the two apes who risked their careers to help Taylor in the first film, along with the brilliant Dr. Milo (Rebel Without a Cause’s Sal Mineo). (Okay, so get over the set-up.) The three apes somehow salvaged Taylor’s ship from the bottom of a lake, managed to re-blast-off, and while watching the earth’s destruction from the sky, were sent into a time warp back to modern day. Silly. But now the fun starts....

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Posted by:
Sean Sweeney
Jul 24, 2014 10:35am

The Long, Hot Summer

Dir: Matrin Ritt, 1958. Starring: Paul Newman, Joanne Woodward, Orson Welles, Anthony Franciosa, Lee Remick

At first glance The Long, Hot Summer looks like some tossed-out Tennessee Williams pages run through a Hollywood blender, but it’s actually a lot more fun then most of Williams’ stiff adaptations. Though, for literary street cred, it’s title card reads William Faulkner’s The Long, Hot Summer, because apparently it’s kinda-sorta, but just barely, based on his novel The Hamlet. It doesn’t come close to the emotional depth of Williams’ or Faulker’s best work, and that’s not necessarily a bad thing. Directed by Martin Ritt, who would go on to a long and distinguished career, the film sports an exciting cast of scenery chewers having a chance to do their corniest Southern accents. The Long, Hot Summer is a classic mash-up of contemporary Southern pulp and suppressed sexuality (think Cat on a Hot Tin Roof meets Picnic, or a much more entertaining version of The Fugitive Kind).

Emerging superstar Paul Newman (who also the starred in the similar, Cat on a Hot Tin Roof in the same year) stars as Southern bad boy Ben Quick, a rogue con man and known arsonist who, after being run out of a town, wanders into another and quickly moves up the food chain of the local fat-cat, Will Varner (Orson Welles, only 42 years young at the time, forced to play much older, which explains his bizarre makeup job which looks almost like he is doing blackface, and may explain why his ham-level is turned up to eleven). Verner, a widower, owns the town and sees in the hotshot Quick a younger version of himself, something he’s doesn’t see in his own son, Jody (the even more miscast Anthony Franciosa). Jody may be married to the town beauty, Eula (Lee Remick), but he’s too spoiled and emotionally weak to carry out the legacy Verner dreams for his family. His daughter Clara (Joanne Woodward) is smart and modern, not the shallow belle her father can relate too. She has been limply wooed for years by momma’s boy Alan (Richard Anderson, a secret 50s supporting actor superstar who specialized in boring businessmen, but is probably best known for playing Oscar on TV’s The Six Million Dollar Man). By '50s movie standards Alan is probably gay and does not have the sexual desire to ever make Verner a grandfather (more echo’s of Tennessee Williams). So Quick quickly works his way up through the family business. Verner cuts a deal with him: wed Clara, give him grandchildren, and he will be comfortable for life. Clara doesn’t fall for Quick’s good ol’ boy charm, but hey, it’s Paul Newman, so eventually she has to give in, that is if his reputation for starting fires doesn’t get him first.

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Posted by:
Sean Sweeney
Nov 7, 2016 3:36pm
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