The world is shocked by the appearance of three talking chimpanzees, who arrived mysteriously in a U.S. spacecraft. They become the toast of society, but one man believes them to be a threat to the human race.
In a futuristic world that has embraced ape slavery, Caesar, the son of the late simians Cornelius and Zira, surfaces after almost twenty years of hiding out from the authorities, and prepares for a slave revolt against humanity.
J. Lee Thompson
Ten years after a worldwide series of ape revolutions and a brutal nuclear war among humans, Caesar must protect survivors of both species from an insidious human cult and a militant ape faction alike.
J. Lee Thompson
Brent is an American astronaut, part of a team sent to locate missing fellow American astronaut, George Taylor. Following Taylor's known flight trajectory, the search and rescue team crash lands on an unknown planet much like Earth in the year 3955, with Brent being the only survivor of the team. What Brent initially does not know, much like Taylor didn't initially know when he landed here before Brent, is that he has landed back on Earth in the future, in the vicinity of what was New York City. Brent finds evidence that Taylor has been on the planet. In Brent's search for Taylor, he finds that the planet is run by a barbaric race of English speaking apes, whose mission is in part to annihilate the human race. Brent eventually locates some of those humans, who communicate telepathically and who live underground to prevent detection by the apes. These humans, who are in their own way as barbaric as the apes, want in turn to protect their species. Brent has to figure out a way to save ...Written by
Several sources (including the official novelization, comic adaptation, and music CD soundtrack), reveal Brent's first name as 'John'. His dying fellow astronaut, called only Skipper, wears a nametag which, when magnified in freeze frame, appears to be Maddon or Maddox. Don Pedro Colley's character is named "Ono Goro" in the script -- Colley was bemused to discover that he was credited as "Negro" in the end titles. See more »
Obvious pull-over ape masks (e.g. empty eye sockets) on the apes during Ursus' speech to The Ape Council. See more »
[reads from the holy scripts]
"Beware the beast man, for he is the devil's pawn. Alone among God's primates, he kills for sport or lust or greed. Yea, he will murder his brother to possess his brother's land. Let him not breed in great numbers, for he will make a desert of his home, and yours. Shun him... for he is the harbinger of death."
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The 20th Century Fox logo does not appear on this film. See more »
When originally released in the UK, the film was heavily cut to receive a lower certificate from the BBFC. This version excised most of the violent and horrific scenes, most notably from the last third of the film, including both scenes where Brent is forced to attack Nova, the revelation of the underground humans' true appearance, the fight Brent and Taylor are forced to have in the prison cell, the killing of the mutant guard on a spiked door, and much of the shoot-out at the film's climax. This cut version was later shown on British TV, c.1991, even though all UK video and DVD releases have been fully uncut and rated '15' since 1987. See more »
Of the five original "Planet of the Apes" films only the first one (1968) and this sequel, "Beneath" (1970), are truly great and worthwhile. The three prequels devolve in quality: "Escape from" (1971) has its points of interest and amusement, "Conquest of" (1972) is okay, but too one-dimensional, and "Battle for" (1973) is weak. "Beneath" is the only actual sequel, hence, both the original and "Beneath" should be digested as one long story.
The plot revolves around astronaut, James Franciscus, landing on the ape planet in search of Taylor & his crew. He makes contact with a primitive babe who knew Taylor (Nova, played by jaw-dropping Linda Harrison) and then embarks upon a quest to find him, leading first to the ape city and then to the "forbidden zone," a holocaust-ruined wasteland with a cryptic underground refuge.
Growing up, I always favored "Beneath" above the original film. Why? Possibly because "Beneath" has a lot more action, especially toward the end, and the concept of the psychic mutants was both eerie and captivating. As an adult, however, I've come to appreciate the original in increasing measure; it's deeper than "Beneath," more intellectual. Each film has its strengths and weaknesses and they compliment each other well.
Many criticize James Franciscus as a Heston clone. Although this is a valid complaint (Linda Harrison described Franciscus as a smaller version of Charleton Heston) and Heston as Taylor is indeed inimitable (so don't even try), I never had a problem with Franciscus in this film. He does a fine job in the role of the stranded astronaut on a planet of madness. His character, Brent, isn't disillusioned with humanity like Taylor, so he has less of an 'edge,' but Brent is a fine generic 'everyman.'
All the main characters from the first film are present. Aside from Nova and Taylor, the story features Dr. Zaius (Maurice Evans), Zira (Kim Hunter) and Cornelius. Unfortunately Roddy McDowall wasn't available to play Cornelius so they brought in David Watson for the part, which isn't much of a problem because you can't tell beneath all the ape make-up and Watson does a splendid job mimicking McDowall. A new character is introduced and that is Ursus, the gorilla general, played by James Gregory (remember him from the original Star Trek episode "Dagger of the Mind"?). Who could ever forget Ursus' motivational speech: "The only good human is a DEAD human!!"?
There are numerous great scenes and images; for example, the gorillas marching in the forbidden zone and the gigantic appearance of their revered Lawgiver with a bleeding face, then collapsing.
Some criticize that the first half of the story is merely an inferior repeat of the original film (astronaut crashlands, discovers that apes rule the planet and ends up in ape city), but it was great the first time around, why not experience it again with some nuances? (Especially since "Beneath" was released two years after the original). I admit that this section of "Beneath" isn't as great as the original, it's even kind of boring (that is, after seeing the first film), but WAIT till Brent and Nova escape ape city and discover a mysterious and intriguing underground lair.
One beef I've always had with "Beneath" is that Leonard Rosenman's blaring score is a little mediocre compared to Jerry Goldsmith's original. It properly mimics the original and is serviceable, but doesn't quite cut it. Why didn't they just re-use Goldsmith's score?
On a technical level, "Beneath" isn't nearly as good as the original due to obvious budget limitations. The subpar score is one example; another would be the all-too-obvious pull-over ape masks in certain scenes. But these are minor cavils and never prevented me from wholly enjoying the flick. Still, I could see why some would give the film a lower rating for this reason.
The climax is KILLER, and I mean that literally, as Brent ultimately finds Taylor and the gorillas invade the underground turf. Some great action entails and then... well, I'm not going to give-away the nihilistic climax. Regardless, I always loved the ending; in its own way it's just as great as the iconic close of the original.
The film runs 1 hour, 35 minutes and was shot in Southern Cal at Malibu Creek State Park, Calabasas; Century Fox Studios, Century City; and Red Rock Canyon State Park.
***SPOILER ALERT CONCERNING THE NATURE OF THE MUTANTS***
It is revealed that the psychic mutants are human caricatures who literally worship the "doomsday bomb," a bomb capable of destroying the entire planet. It would appear that human beings need something to worship even in a devolved state, which suggests that humankind is incurably religious. This may be a negative reflection on religion, which is the human attempt to connect with God ('religion' means "to bind back"), but it isn't a negative reflection on biblical Christianity, which concerns the Creator connecting with humanity through the death & resurrection of the Messiah and the subsequent life-birthing power of the Spirit. In any case, the perverted religious nature of the psychic mutants is nothing less than fascinating, albeit a bit laughable at times, e.g. "the fellowship of the holy fallout." Nevertheless, the portrayal of their psychic powers is the best depiction in cinema IMHO.
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