Later today TCM is screening Forbidden Planet (Fred Wilcox, 1956), one of the best science-fiction films of all time. That last statement might ring hyperbolic, but anyone familiar with the movie knows it’s true. What could I possibly add that hasn’t already been uncovered about a film that had an influence on everything from Star Trek to Alien and beyond? Given how Forbidden Planet adds elements of Shakespeare’s The Tempest and Jungian theories tapping into the collective unconscious, I sent emails to cast of The Theatre & Dance department at my campus, which recently hosted “Return to the Forbidden Planet, the musical”, as well as to some folks at the Colorado Shakespeare Festival, and even a couple Humanities professors who teach courses on Carl Jung.
Sadly, I sent my email inquiries out at the same time that weather channels and social media were busy banging on the panic button regarding an impending “thunder snow storm” that might dump unprecedented moisture to the area. As an aside; “thunder snow” – how is this a thing? It seems like something Morbius might create in his Krell laboratory. And, sure enough, as I was walking around campus in the snow I could hear thunder in the background. It’s still snowing now, all the grocery stores have been ravaged by mobs, and the airport canceled half of its scheduled flights. Otherwise, it’s really not that bad and we’ll be back to spring weather by Wednesday.
As my deadline for this post has now passed and and none of my emails netted a reply, I’ll answer some of my own questions:
1) Tell me why you love “Forbidden Planet”.
The script is smart, funny, thrilling, sexy, and entertaining. All in equal measure. The special effects are glorious, colorful, and a rich mixture of animation, models, props, electronics, with inspired alien vistas and landscapes. Robby the Robot! The sets and matte paintings still take my breath away. It makes me feel like a kid again, reading EC Comics penned by Wally Wood. Only here brought to life like an old hand-painted Méliès film. Or “Mélies on meth”, as I exclaimed after my recent screening of Flash Gordon (Mike Hodges, 1980), which to my memory seems like the last hurrah before CGI and green screens became the rather flat and uninspired currency of the entertainment realm.
2) What are some of your favorite cinematic adaptations that use Shakespeare’s work?
Chimes at Midnight (Orson Welles, 1965). I’m screening the recent Janus restoration this Wednesday, on 4/20. I guess that’s when we’ll find out how many Shakespearean stoners this campus holds. Ran (Akira Kurosawa, 1985). Just… epic, with the director designing every last coat of arms himself. My Own Private Idaho (Gus Van Sant, 1991). A breakout indy film, with a heart-breaking performance by River Phoenix. Titus (Julie Taymor, 1999). Amazing art design, an absolute must on the big screen. West Side Story (Robbins/Wise, 1961), because if I’m going to add one musical, it’ll be this one. Rosencrantz & Guildenstern Are Dead (Tom Stoppard, 1990). Between Stoppard’s dialogue, Gary Oldman and Tim Roth, how can you go wrong? Macbeth (Roman Polanski, 1971). So haunting. Especially when you think about how the director is using Shakespeare here to exorcise the Manson demons that plagued him. And, speaking of Macbeth, I’ll end with one more to top things off on a lighter note: Scotland, Pa. (Billy Morrissette, 2001). This overlooked gem has a brilliant turn by Christopher Walken as Lieutenant McDuff, which alone is worth the price of admission.
3) A studio titan with unlimited funds offers to make your dream Shakespeare project come to life. What would that be?
Easy. Titus Andronicus. Directed by David Cronenberg. For cast, I’d bring in Malcolm McDowell (his experience on Caligula will serve him well), Bruce Campbell (if limbs are going to fly, you might as well have Bruce), Jamie Lee Curtis as Queen of the Goths. And – sure – bring Anthony Hopkins back too. Music by Goblin.
Bottom-line, if you’re going to do Shakespeare’s bloodiest and most violent work, you might as well bring in the top vets from the horror genre. Long live the new flesh!
