Battle for the Planet of the Apes

Dawn of the Planet of the Apes 06

Warning: Spoilers for Dawn of the Planet of the Apes (and all of the Apes films, for that matter) When Battle for the Planet of the Apes ended the franchise’s first cinematic run in 1973, it concluded the series with something of a whimper instead of a bang. While many of the original Apes sequels are enduringly fascinating in their expanding narratives, trenchant topicality and surprisingly bleak endings, they were also assembly line products rushed through production annually, with nearly each successive entry’s budget slashed in half – a series constructed on a model of diminishing returns. Most of the normal creative team were not available for the fifth entry, so The Omega Man’s married screenwriting team of John and Joyce Corrington were hired to helm Battle despite being unfamiliar with the series. After inter- and intra-species conflict, Battle ends with a flash-forward (a bookending device) showing a monument of Caesar (Roddy McDowall) with a tear going down his face as the orangutan Lawgiver (John Huston) tells his story of unifying man and ape. The ending has been criticized then and now for its cloying, unearned sentimentality – perhaps the fatigue of Vietnam made even this call for peace in a “family film” ring false only four short years after John and Yoko urged Americans to give it a chance – and it emotes without ever really saying anything. Is the Caesar statue crying over achieving peace, or with the knowledge that peace is only temporary? Inadvertently or not, the ambivalence of this final moment […]

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Culture Warrior

Warning: this editorial contains spoilers for Rise of the Planet of the Apes (and, for that matter, the original Planet of the Apes). Consider yourself warned, you maniacs! The original Planet of the Apes lends itself quite readily to allegory. 1968, the year of the film’s release, was the peak of one of the most tumultuous eras in American social history. Martin Luther King, Jr. was gunned down in April of that year, and Robert F. Kennedy’s death followed a mere two months later. Student resistance and campus demonstrations grew increasingly violent in their opposition to the Vietnam War, the Chicago DNC broke into an all-out war, and racial discord mounted. Of course, none of this had happened yet when Planet of the Apes went into production, but the intersections of intent and circumstance that permit the film to be read so heavily, so variously, and so often in allegorical terms enrich the original film and its sequels with resonance that outlives whatever else may date it. Beyond entertainment value, the Planet of the Apes series has lingered in the popular imagination not because of any strong connection to a specific associative meaning, but because of the many possible allegorical readings it is capable of containing. One of several reasons that Rise of the Planet of the Apes succeeds where previous reincarnations of the series did not is its reclaimed capacity for allegory.

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