 Robert
Wise's The Day The Earth Stood Still is widely regarded as
one of the true classics of science fiction cinema. It is credited
with inspiring the alien movie deluge of the 1950s, and it is referenced
in films ranging from Army of Darkness to One Hour Photo.
It is remarkable for still being as pertinent today as when it was
released.
The film opens with a thrilling sequence
that has been imitated by films like Independence Day. An
unidentified object is detected in the Earth's atmosphere, flying
at 4,000 miles per hour. It eventually lands in Washington, D.C.
and is greeted with suspicion and hostility by the American government,
who surround the craft with their military. When the two inhabitants
emerge, Klaatu (Michael Rennie) and Gort, an eight-foot tall robot,
Klaatu is shot by a soldier. He is taken to a nearby hospital and
recovers in just two days, eventually slipping out so that he may
experience this new world for himself. He begins lodging with the
Benson family, and develops a bond to the widowed Helen (Patricia
Neale) and her eleven year-old son, Bobby (Billy Gray). But Klaatu
is here on a mission. He must deliver an ultimatum to all of Earth
before he is caught.
Following in the footsteps of another classic
about alien visitation, The Thing From Another World, The
Day The Earth Stood Still couldn't be more different. In the
former, the alien is purely a menace to humanity, stopping at nothing
to destroy life. Wise's tale is less sensationalist. Instead, the
alien is presented as an intelligent, benevolent creature, intent
on helping humans. His relationship with Bobby and his dislike of
violence make him one of the most sympathetic aliens put on screen.
His presence is not designed to shock or alarm anyone. Rather, it
is the humans who come off worse, as paranoia, aggression, xenophobia
and greed grip the public.
The film came shortly after the end of World
War II, while The Cold War was gearing up. The fear and despair
of war resonates all throughout the film, from the anxious, trigger-happy
soldiers to Bobby, who takes Klaatu to his father's grave, having
lost him in the war. Like many of the sci-fi flicks of the '50s,
it is the atomic bomb that is of greatest concern. After all, this
one bomb managed to awaken gigantic monsters, mutate insects into
city-crushing behemoths and even wipe out the sun. But such far-fetched
scenarios are not exploited here. Instead it is anchored in a grim
realism, with Klaatu warning that humans must disarm or face annihilation.
No scenes of massive destruction are necessary; rather it is the
lingering threat of what may happen that is so frightening.
The sincere tone of the film means it is
a far more talky, agenda-driven piece than many of its contemporaries.
However, Wise never lets the film slip into the trap of being overly
didactic. Klaatu's mission is not even revealed until towards the
end of the film, and so in the meantime, the focus is purely on
the relationships between him and the Benson family, and the mounting
tension of his imminent apprehension. There are occasional plot
holes and flaws, such as how only two soldiers seem to be guarding
the alien craft while Klaatu is away. But they are minor and inconsequential
to the larger picture.
Rennie is perfect as Klaatu, emanating both
intelligence and charisma. Neale is also good in her role as Helen,
and Billy Gray shines as the precocious Bobby. He manages to be
an inquisitive and intelligent boy, without ever succumbing to the
cloyingly cute image often presented by Hollywood.
Special effects are few and far between,
but when they are used, they do not detract from the story. Indeed,
the shot of the craft landing in Washington still looks remarkably
good today, despite the advances in CGI.
Wise's efficient direction is wonderfully
supported by the score by music legend Bernard Herrmann. Mostly
known for his work with Hitchcock (including Psycho and Vertigo),
he creates a unique score that is cited as the first ever use of
electronically generated sounds in film. His work would be imitated
in countless sci-fi films since, and it proved to be a seminal work
in what is altogether a landmark film.
It is fascinating that in the fifty-two years
since the film's release, the human race is still plagued with the
same petty squabbles and war-mongering that is so condemned in The
Day The Earth Stood Still. Its message for tolerance, reason
and peace is as relevant today as ever, yet again they seem far
from reach. At once a thought-provoking, politically driven comment
and an expertly realised example of straight-faced sci-fi, The
Day The Earth Stood Still is a masterpiece in a genre that is
increasingly dominated by the computer-generated spectacle. In another
fifty-two years' time, this film will still be standing, after its
ephemeral CGI descendents have long evaporated.
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Release Year: 1951