The Power of the ‘Planet of the Apes’

When the very first “Planet of the Apes” movie opened in 1968, the movie critic at The Times, Renata Adler, found it unremarkable. “It is no good at all, but fun, at moments, to watch,” she wrote, deeming it an “anti-war film and a science-fiction liberal tract,” with the apes representing “militarism, fascism and police brutality.” It’s probably safe to say she wasn’t expecting it to become one of the longest-running science-fiction franchises in Hollywood history.

I cannot quite blame her — and not just because endless sequels weren’t as ubiquitous as they are today. Watching the 1968 film, you see how close it could have veered toward a quick extinction. At times the whole thing has the quality of a skit. Actors wear monkey suits and masks (“wonderful anthropoid masks,” as Adler put it), and the attempt to draw a parallel between the apes’ civilization and the viewers’ can feel a little clumsy. It’s 1968, so there are winking catchphrases like “you can’t trust the older generation” and “never trust anyone over 30,” slogans that had been adopted by the counterculture. Had I been the reviewer back then, I might have called it “sometimes hamfisted.”

Yet with regrets to Adler, the movie does work on its own terms, and it has held up extraordinarily well over the past 56 years. Charlton Heston stars as the captain of a four-person space crew that crash-lands on a planet that feels unfamiliar, where talking apes rule and humans, such as they are, have been enslaved. (One member of the crew is female, which I suppose was meant to suggest something futuristic; the first American woman didn’t go into space until 25 years after “Planet of the Apes” premiered.)

The movie was based on a 1963 satirical novel by the French author Pierre Boulle, who also wrote the novel “The Bridge on the River Kwai.” Rod Serling, the creator of the wildly popular science-fiction TV show “The Twilight Zone,” was brought on to adapt the book for the screen. Serling’s influence is obvious from the first moments, which involve Heston in monologue about philosophical matters. More time has passed on Earth than in the spacecraft, since they’re moving at the speed of light. “Seen from out here, everything seems different,” he says. “Time bends. Space is boundless. It squashes a man’s ego. I feel lonely.”

“Tell me, though,” he continues. “Does man, that marvel of the universe, that glorious paradox who has sent me to the stars, still make war against his brother, keep his neighbor’s children starving?”