IMDb > Futureworld (1976)
Futureworld
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Futureworld (1976) More at IMDbPro »

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Futureworld -- Trailer for Futureworld

Overview

User Rating:
5.8/10   4,465 votes »
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Down 1% in popularity this week. See why on IMDbPro.
Director:
Writers:
Mayo Simon (written by) and
George Schenck (written by)
Contact:
View company contact information for Futureworld on IMDbPro.
Release Date:
13 August 1976 (USA) See more »
Genre:
Tagline:
Where the only way to survive is to kill yourself See more »
Plot:
Two reporters, Tracy and Chuck, get a message from a third one who discovered something about "Futureworld"... See more » | Add synopsis »
Awards:
1 win & 2 nominations See more »
User Reviews:
A fine sequel to Westworld See more (48 total) »

Cast

  (in credits order) (complete, awaiting verification)

Peter Fonda ... Chuck Browning

Blythe Danner ... Tracy Ballard
Arthur Hill ... Duffy

Yul Brynner ... The Gunslinger

John P. Ryan ... Dr. Schneider (as John Ryan)

Stuart Margolin ... Harry
Allen Ludden ... Game Show Host
Robert Cornthwaite ... Mr. Reed
Angela Greene ... Mrs. Reed
Darrell Larson ... Eric
Nancy Bell ... Erica
Bert Conroy ... Mr. Karnovski (as Burt Conroy)
Dorothy Konrad ... Mrs. Karnovski

John Fujioka ... Mr. Takaguchi

Dana Lee ... Mr. Takaguchi's Aide
Alex Rodine ... KGB Man
Judson Pratt ... Bartender

Andrew Masset ... Male Robot

James M. Connor ... Robot Clark (as James Connor)
Ray Holland ... Chief Technician
Mike Scott ... Steven
Ed Geldart ... Frenchy (as Ed Geldard)
David Perkins ... Fantasy Technician
Charles Krohn ... Arthur Holcombe
Hirsh Scholl ... The Arab
Barry Gilmore ... Guard
Cathryn Hartt ... Secretary (as Catherine McClenny)
Barry Gremillion ... Page
Jim Everhart ... Shorty
Jan Cobler ... Hostess (as Jan Cobbler)
Howard Finch ... Reporter
Jim Antonio ... Ron Thurlow
rest of cast listed alphabetically:

Conrad Bachmann ... (uncredited)

Nick Dimitri ... Robot Boxer (uncredited)
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Directed by
Richard T. Heffron 
 
Writing credits
Mayo Simon (written by) and
George Schenck (written by)

Produced by
Samuel Z. Arkoff .... executive producer
James T. Aubrey .... producer
Paul Lazarus III .... producer (as Paul N. Lazarus III)
 
Original Music by
Fred Karlin 
 
Cinematography by
Gene Polito (director of photography)
Howard Schwartz (director of photography)
 
Film Editing by
James Mitchell 
 
Casting by
Betty Martin 
 
Art Direction by
Trevor Williams 
 
Set Decoration by
Marvin March 
Dennis W. Peeples  (as Dennis Peeples)
 
Costume Design by
Ann McCarthy (uncredited)
 
Makeup Department
Janis Clark .... hair stylist
Robert Norin .... makeup artist
Jo Ann Phillips .... hair stylist (as Joanne Phillips)
Marvin G. Westmore .... makeup artist
Mike Bacarella .... assistant makeup artist (uncredited)
 
Production Management
Salvatore Billitteri .... in charge of post-production
Marty Hornstein .... production manager
Elliot Schick .... production supervisor
 
Second Unit Director or Assistant Director
Robert J. Koster .... first assistant director (as Robert Koster)
Jan R. Lloyd .... second assistant director (as Jan Lloyd)
 
Art Department
Kenneth Crawford .... assistant property master (as Ken Crawford)
Reggie Foster .... construction coordinator
Mike Garcia .... lead man
Russell Goble .... property master (as Russ Goble)
Eric Orbom .... set designer
George Stokes .... construction coordinator
 
Sound Department
Clint Althouse .... boom operator
Charles T. Knight .... sound mixer (as Charlie Knight)
Ross Taylor .... sound effects
Ken Dufva .... foley artist (uncredited)
 
Special Effects by
Gene Grigg .... special effects
Michael Wood .... assistant special effects (as Mike Wood)
 
Visual Effects by
Ed Catmull .... producer: animated face and animated hand film, University of Utah Computer Science Department (as Edwin Earl Catmull)
Albert Nalpas .... visual effects editor
Frederic Ira Parke .... producer: animated face and animated hand film, University of Utah Computer Science Department (as Dr. Frederic Ira Parke)
Brent Sellstrom .... visual effects coordinator
Matthew Yuricich .... matte painter (uncredited)
 
Stunts
Bud Davis .... stuntman
Gary Davis .... stuntman
Gary Epper .... stuntman
Paul Nuckles .... stunt coordinator
Jack Verbois .... stuntman
Nick Dimitri .... stunts (uncredited)
 
Camera and Electrical Department
Lloyd Ahern II .... camera operator (as Lloyd Ahern Jr.)
John L. Black .... key grip (as John Black)
Peter J. Breen .... dolly grip (as Peter Breen)
Richard J. Edesa .... first assistant camera (as Dick Edesa)
Robert C. Jessup .... director of photography: second unit (as Robert Jessup)
Jack Johnson .... best boy grip
Bill Lindner .... best boy
Lynn Lockwood .... second assistant camera
Lon Massey .... gaffer
Richard McConihay .... electrician
Bill Neff .... gaffer
Pete G. Papanickolas .... best boy grip (as Pete Papanickolas)
Stephen Wever .... still photographer (as Steve Wever)
Jack Willoughby .... camera operator
Bill Jones .... grip (uncredited)
 
Casting Department
Gary Chason .... location casting
 
Costume and Wardrobe Department
James M. George .... costume supervisor (as Jimmy George)
Llandys Williams .... wardrobe woman
 
Editorial Department
Leo Guerra .... assistant editor (as Leo Gomez-Guerra)
Charles Titone .... assistant editor
 
Music Department
Dan Carlin Sr. .... music editor (as Dan Carlin)
Bodie Chandler .... music supervisor
 
Transportation Department
Paul Casella Jr. .... transportation coordinator (as Paul Casella)
James E. Foote .... transportation captain
 
Other crew
Lea Andrews .... location manager
Samuel Z. Arkoff .... presenter
Irene Berkman .... production coordinator
Dennis A. Brown .... production controller
Duncan Daneault .... location auditor (as Duke Daneault)
Michael Hamilton .... title designer
Steven Katten .... reconstructor images
Elliot Lipchick .... medical footage provider (as Dr. Elliot Lipchick)
Mark Lipschultz .... production assistant
C. Panning Master .... reconstructor images
Alex Pomansanof .... thermal and colorization sequences
John E. Rayle .... medical footage provider (as Dr. John E. Rayle)
Harry Templeton .... production executive
Ron Underwood .... production assistant
Mary Wiedeman .... medical footage provider (as Dr. Mary Wiedeman)
Marshall J. Wolins .... script supervisor (as Marshall Wolins)
Phil Konstantin .... technician (uncredited)
David Sheldon .... production executive (uncredited)
 

Production CompaniesDistributorsSpecial EffectsOther Companies
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Additional Details

Also Known As:
"Delosworld" - Japan (English title)
See more »
Runtime:
108 min (original release)
Country:
Language:
Color:
Color (Metrocolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:
Australia:PG | Australia:M (DVD rating) | Finland:K-16 | France:U | Iceland:12 | Netherlands:12 | Norway:16 | Spain:18 | Sweden:15 | UK:PG | UK:12 (new rating) | UK:A (original rating) | USA:PG (certificate #24629) | West Germany:12

Did You Know?

Trivia:
Yul Brynner's final film.See more »
Goofs:
Revealing mistakes: The Mars ski sequence is obviously shot with a red filter causing everything to be red.See more »
Quotes:
Arthur Holcombe:While you are a glamorous, and highly paid television personality, you are still an employee. In fact, you're my employee. So, unless you'd like to spend the next 3 years doing weather and fashion in Sioux Falls, South Dakota, you will now shut up and do as you're told.
Tracy Ballard:Oh, yes? Yes, Arthur? we'll see about that!
See more »
Movie Connections:
References "Adventures of Superman" (1952)See more »

FAQ

This FAQ is empty. Add the first question.
33 out of 45 people found the following review useful.
A fine sequel to Westworld, 22 March 2005
Author: Brandt Sponseller from New York City

Series note: As Futureworld is a "later chapter" to the story begun in Michael Crichton's Westworld, it is imperative that you watch Westworld before this film.

Set a number of years after the events of Westworld (1973), Futureworld concerns two competitive reporters, Chuck Browning (Peter Fonda) and Tracy Ballard (Blythe Danner), who have been invited to cover the reopening of Delos, the "virtual reality" amusement park that went haywire in Westworld. Browning broke the story about the previous mishap, and he's particularly skeptical about the revamped park. Of course, being a sci-fi/thriller film, much of his skepticism is justified.

Director Richard T. Heffron did a lot of work for television both before and after he directed Futureworld, so it is not surprising that the film often has more of a made-for-television "atmosphere" than its predecessor. Delos has been revamped so that there are new lands--including Spa World (similar to today's actual "destination spas") and of course, Future World, where guests take a simulated rocket flight to a simulated space station where they engage in recreational activities such as simulated space walks and non-simulated hobnobbing at the bar. Westworld has become a ghost town (and it seemed to me that this dilapidated state should have been capitalized on as "Ghost World"--that's where I would have chosen to spend my high-priced vacation--but Heffron and his scripters didn't bother). The production design is a bit slicker than it was in Westworld, even if the locations aren't as pleasant (there is no desert--I'm a big fan of deserts). It also looks a bit higher budget, but the impact isn't greater because of the made-for-television feel.

Still, Heffron often transcends that limitation, and there are occasional sequences, such as Ballard's dream, which Browning and a handful of technicians vicariously enjoy (it partially involves a nudity-free sex fantasy) from a remote monitor, that are unusual in their surrealism. Much of the dream is as a silent film, and it features a nice cameo from Yul Brynner, who was the chief villain in Westworld. There are also a number of impressive "industrial" sets--full of piping, cables, large machinery and such, in which Heffron sets a number of exciting action sequences, one remarkably prescient of the climax chase in Total Recall (1990).

Because of the film's intimate connection with Westworld, it's helpful to make a number of comparisons between the two that help explain how Futureworld holds its own (almost, I only rated it a point lower) to its infamous brother.

Both films are largely satirical (in a more formal, less humor-oriented sense of that term), a caricature of many different facets of society, from amusement/recreation to folly, and in the case of Futureworld, more ominous machinations. Delos is a satire of Disney World and similar theme parks, where we can spend leisure time playing roles, fantasizing that we're someone else, in some other time.

Whereas Westworld presented its satire of Disney-like escapism on a more surface level, Futureworld is concerned with the reality under the public façade. Westworld presented a few moments of the behind the scenes reality--technicians attending to computers, maintaining robots, fretting about anomalies--but the bulk of Futureworld consists of Browning and Ballard on a figurative journey to the bowels of Hades, where they'll eventually attempt to "unmask" the devil and destroy his perpetration of hedonistic illusion.

As it should sound, Futureworld is much more sinister in some ways. Not that Westworld wasn't wonderfully disturbing, but the dilemma in that film arose through relative innocence, with man attempting to better himself and his environment, only discovering too late that his manipulations were backfiring. In Futureworld, the innocence is gone. The Frankenstein-like, God-emulating manipulation of the world has been realized, and through conceit, the powers that be behind Delos figure they can improve not only upon nature, but the artificial control of nature that failed in Westworld, especially utilizing the services of behind the scenes technicians who are now almost exclusively robots.

The villainous motivation behind of all this, which extends far beyond Delos, has an attractive grayness. The aim is still to improve the world, but at a cost of human life. But is it? Supposedly, human life is being replaced at the same rate, the replacements ostensibly being identical biologically, except that they have a different set of beliefs. Although the exact mechanism of all of this is a bit vague (as it needs to be--any attempt at a scientific explanation would probably be less plausible then just saying " . . . and then a miracle occurs"), the plot points fueled by the idea broach a number of very interesting philosophical questions.

If you haven't seen the film yet, some of what I'm saying will seem itself a bit vague, but I'm purposefully presenting it that way to avoid "giving the film away", while still enabling comments on it. Rest assured that the plot is fairly transparent and easy to follow --this is a good script, and Heffron did a fine job directing it so that it brings up serious issues at the same time it provides more than a fair amount of suspense and touches of humor.

A lot of the film succeeds because of good performances from Fonda, Danner and a few others. Fonda and Danner have to effectively play a couple different roles, sometimes making a clear distinction, sometimes purposefully blurring the same, which they accomplish with skill. They also have to undergo a couple somewhat bizarre transformations that aren't explained very well, such as one from rivals to lovers, but somehow they manage to make even that convincing.

This is a fine sequel to Westworld. It isn't essential viewing, but Westworld certainly is, and if you've experienced that film, you may as well see what happens next.

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