W: David Duncan [based on the novel by H.G.
DP: Paul C. Vogel
Ed: George Tomasini
Mus: Russell Garcia
PD: George W. Davis & William
Rod Taylor (George Wells), Yvette Mimieux (Weena), Alan
Young (David Filby/James Filby), Sebastian Cabot (Dr. Phillip Hillyer)
On the eve of 20th century, a Victorian inventor creates a
time machine which propels him to the year 802701, where mankind has divided into two species, the peace-loving, languid Eloi, and carnivorous beasts known as Morlocks.
This treatment of H. G. Wells' classic novel is more a
metaphor for the power of education and the importance of reading rather than the regular science fiction fare released around the same time. The production design and time-lapse special
effects were quite remarkable considering the film's age, but feel incredibly dated now, nevertheless this is still streets ahead of the 2002 remake.
THE TIME MACHINE (12)
D: Simon Wells
Warner Bros./Dreamworks (Walter F. Parkes
& David Valdes)
W: John Logan [based on the novel by H. G.
DP: Donald M. McAlpine
Ed: Wayne Wahrman
Mus: Klaus Badelt
PD: Oliver Scholl
Cos: Deena Appel & Bob
Guy Pearce (Dr. Alexander Hartdegen), Samantha
Mumba (Mara), Mark Addy (David Philby), Sienna Guillory (Emma), Phyllida Law (Mrs. Watchit), Jeremy Irons (The Über-Morlock), Orlando Jones (Vox 114)
Less a remake and more a complete re-write,
relocating the setting from Victorian London to turn of the century New York City where an inventor creates a time machine in the hope of altering events in the past so he can
save the woman he loves. When his meddling in the past proves fruitless, he travels 800,000 years into the future on a quest for answers, but receives none, and encounters two
tribes of species, one peaceful and the other barbaric.
Though special effects & make up
advancements serve the story to deliver better-looking incarnations of the Eloi & Morlocks from the 1960 film, this adaptation is let down by a shockingly dumbed-down
narrative, annoying performances and a ridiculous futuristic dialect which sounds like it was ad-libbed on set.
The most disappointing thing of all is that
this film was directed by the original author's own grandson, which must at least be considered some form of patricide. At the very least it proves that creative and intellectual
genius isn't hereditary.