A diplomat is nearly assassinated. In order to save him, a submarine is shrunken to microscopic size and injected into his blood stream with a small crew. Problems arise almost as soon as they enter the bloodstream.
When Adams and his crew are sent to investigate the silence from a planet inhabited by scientists, he finds all but two have died. Dr. Morbius and his daughter Altaira have somehow survived a hideous monster which roams the planet. Unknown to Adams, Morbius has made a discovery, and has no intention of sharing it (or his daughter!) with anyone. Written by
In an interview, when asked why Forbidden Planet was so successful with both audiences and critics, Anne Francis responded, "From the first day on the set, we were told to take it seriously." See more »
Morbius shows the Captain and Doc Ostrow the power units, admonishing them to look only in the mirror. "Man does not behold the face of the Gorgon and live!" They then face away from the real window and look in the mirror. The viewer could believe they are seeing a perspective which is hiding a wall or other shield that they are standing in front of. However, the radiation from the real power unit window completely illuminates the Captain and Morbius's backs. If they are being lit up by the radiation, and it is truly that deadly, it makes no difference if they're looking at it or not. They all ought to be incinerated. See more »
Well, of course, "Star Wars" defined the genre, and "Alien" and "Blade Runner" perfected it; but "Forbidden Planet" created it. Argue, if you must, that movies like "The Day the Earth Stood Still", "Them" and "Five Million Years to Earth" are the cerebral grand-fathers of the film genre (and I won't disagree with you), but for "science-fiction-as-plot-driven-action-epic," this is it. This is the one.
It's so unerringly on target, in fact, that it still plays very well even today. The modern audience has to overcome the "Leslie Nielsen Factor" (and it is difficult to watch him in a totally straight role), but once you do, the movie is pure enjoyment. Forget about dated plots and special effect. Robbie the Robot is a guy in a suit, yes, but he is thoroughly believable. He even adheres nicely to Asimov's Three Laws of Robotics, a trick that the digital robots in this summer's "I, Robot" had a great deal of difficulty with.
And the monster! I defy anyone to avoid getting the willies when the monster first shorts the security fence. Great special effect, then and now!
Finally, the universal theme of man's (and Krell's) individual flaws inserting themselves into an otherwise perfect system and TOTALLY gumming up the works is as relevant today as it was then. More so.
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