This series celebrates 50 years of the “Planet of the Apes” film franchise. Here, we look back at the third film in the original series.
“Escape from the Planet of the Apes” (1971) is proof that you can’t stop sequels from being made. According to the “Behind the Planet of the Apes” documentary (1998), Charlton Heston came up with the idea of not only killing off Taylor, but also blowing up the Earth at the end of “Beneath the Planet of the Apes” (1970), so as not to be dogged by yet another sequel. But a year later, the third film came out, propelled by a solution that was already present in the saga: time travel. Only this time, it’s in reverse, as Zira (Kim Hunter) and Cornelius (Roddy McDowall, back after a one-film absence) – fleeing the gorillas’ world of war — travel from 3955 to 1970s Los Angeles.
“Escape” is a landmark for actors in makeup carrying a film. Hunter and McDowall are lovable leads, and John Chambers’ ape facial prosthetics are up to the task. It’s fun seeing the tables turned, with the apes marveling at the humans’ technology and culture. Similar to Taylor’s impressions of the ape world, the chimpanzee couple notes how similar human society is to theirs.
Jerry Goldsmith delivers a more playful score, though, as the duo is whisked on a whirlwind publicity tour after they earn an ovation at their first hearing in front of officialdom. Writer Paul Dehn draws on Ulysse’s speech and subsequent decent treatment by the apes in Pierre Boulle’s novel, and he again taps into the book when Cornelius explains the apes’ rise. It’s the film’s most intriguing piece of mythology-building: After a plague wipes out dogs and cats, humans begin to take apes as pets. Through the centuries, apes gain more intelligence, eventually being tasked as servants (something that is flipped in Tim Burton’s 2001 remake). Ultimately, they learn about slavery and how to say “no.”
While “Escape” starts off lighthearted and even humorous – Cornelius looks dapper in a new suit, Zira develops a taste for “grape juice extra” — it ultimately becomes recognizable as an “Apes” film. After meticulous grilling of the chimps, the government officials put together the pieces that eventually apes will rise in humans’ place. Some in power suggest killing Zira and Cornelius, or at least aborting their unborn baby and sterilizing the couple. Some also intend to use Zira’s career of dissecting of humans against her, although there is a general understanding that it’s no different from what humans do to animals here.
I like that “Escape” isn’t too heavy handed. Most humans – but notably good doctors Dixon (Bradford Dillman) and Branton (Natalie Trundy) and a kind circus promoter (Ricardo Montalban) – like these remarkable chimps, and treat them with dignity. Dr. Hasslein (Eric Braeden) is the biggest villain, accompanied by his cadre of right-hand men. The president (William Windom) is neutral, noting that the chimps are popular, so he’s not going to see them killed on his watch. Even after Cornelius appears to have murdered a human (it was an accident), the prez wants him apprehended, not shot on sight.
Still, director Don Taylor’s film has a slow-burn fatalism, suggesting that the tiniest misunderstanding will tip the delicate balance. Zira notes that she has met hundreds of humans since their arrival, but she trusts only three to help them. The good guys are outnumbered: In the end, all Dixon can do is answer with an honest affirmative when Cornelius asks if the humans will kill him, Zira and their child, Milo (played by a real, adorable baby chimp), if they are caught.
Although there are pleasures to be had watching Zira and Cornelius in 1970s America, “Escape” strikes me as a less visually ambitious film than its predecessors. The climactic setting of an abandoned oil tanker is neat, but there’s not much of a cinematographic touch to this film. Nor is there much fresh social commentary or satire – although there is one amusing and timeless moment when a Cardinal (Peter Forster) bursts into outrage when he learns Cornelius and Zira are married.
The film’s enduring images are functional offices and hearing rooms where humans like to sit around tables and talk before backing up immoral acts and decisions with proclamations and rulings. This is, of course, the very behavior the second film’s Brent derides as being a veneer of civilization that will ultimately lead to its end.
But even if its themes ape what has already been established, “Escape from the Planet of the Apes” works because we follow two old favorites into a new setting.