An alien (Klaatu) with his mighty robot (Gort) land their spacecraft on Cold War-era Earth just after the end of World War II. They bring an important message to the planet that Klaatu wishes to tell to representatives of all nations. However, communication turns out to be difficult, so, after learning something about the natives, Klaatu decides on an alternative approach. Written by
Bruce Janson <email@example.com>
A science fiction classic that beautifully melds the ordinary and the fantastic
This science fiction classic is more relevant than ever, and I don't mean its silly message about peace. Yes, yes, we're all violent, silly, war-like humans, and we should all throw away our guns and atomic bombs posthaste if we know what's good for us. Thanks, Klaatu. We'll get right on that. Meanwhile, we'll enjoy the chance to watch your story on DVD because we live in an age yes, of war and cruelty and weapons of mass destruction but also of Jar Jar Binks and "Alien vs. Predator."
Klaatu (Michael Rennie) is a gentlemanly outer-space alien who comes to earth in his flying saucer to send us Earthlings a very important message. Sadly, we shoot him on arrival and try to imprison him in a hospital room. He escapes, however, and goes out among us to find the basis for our "strange, unreasoning attitudes." He takes a room in a boarding house, where he meets the widowed Mrs. Benson (Patricia Neal) and her young son (Billy Gray). The widow is being romanced by an insurance salesman (Hugh Marlowe), who later displays a lust for glory that endangers Klaatu and thus the rest of the world. Klaatu is in better hands when he reveals himself to Professor Barnhardt (Sam Jaffe), a brilliant scientist and the best hope for the survival of Earth.
It's funny, but I never think about this movie in terms of that plot outline. To me, this film is composed of small moments about people especially Mrs. Benson. Mention "The Day the Earth Stood Still" to me, and the first thing I think about is that moment where the strange new boarder tells her that he'd like to spend the day with her son. She hesitates a moment and says in a lowered voice, "Well, that's awfully nice of you to suggest it." It's a tiny moment about her concern for her son, her good manners and her intelligent ability to reply quickly and diplomatically. Patricia Neal, not Gort the robot, makes this movie come alive for me.
The real reason this story is so fresh is because it's a good story. It's not an excuse to slap us senseless with fast-paced cutting or drown us in great globs of special effects. It has an engaging plot with warm, interesting characters. If we stupidly (and as you know, Klaatu, we humans can be so very stupid) limit ourselves to the New Releases section of the video store, we forget that some sci-fi thrillers put story before special effects.
The trick work in this movie is excellent, though. I think the robot looks silly, but when Gort opens its visor and we hear that unnerving theremin music, we don't care that this supposedly metallic creature bends like Styrofoam at the knees. We know those laser beams eyes are about to scorch everything in their sight.
Michael Rennie makes up for Gort's deficiencies. He gives what easily could have been a humorless, sanctimonious character a quiet, graceful authority. His slightly otherworldly looks add to the illusion; and Neal as Mrs. Benson completes it by reacting to him with obvious respect even when she fears him.
Under Robert Wise's direction, every shot is strikingly composed and brings out the maximum dramatic potential of the story. The sense of rhythm and pacing is beautifully suspenseful. Bernard Herrmann, with the theremin as one of his instruments, gives the movie both a nervous tension and a sense of wonder. And the story is so perfectly constructed that it even gets away with a big speech for a climax.
What's the heart of this movie? There's a bravura sequence where Billy Gray secretly follows Rennie from the boarding house to his spaceship. It's a simple, wordless scene where the entire team of filmmakers and that goes double for Herrmann meld the ordinary and the fantastic. You want a special effect? That's it.
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