Movie iconoclasm

The Day the Earth Stood Still has not withstood the test of time

One of the cable channels recently showed the 1951 sci-fi classic, The Day the Earth Stood Still. The movie has been called "the first thinking person's science fiction movie." It was made during the second year of the Korean War and the formative years of the Cold War - the USSR detonated its second atomic bomb that year, and the United States was only a year away from testing the first hydrogen bomb. And of course, the world was only six years away from the abbatoir of World War II.

The drama is this: a large flying saucer lands in front of the Washington Monument. The military surrounds it with tanks and troops. A giant, humanoid robot emerges. We learn later its name is Gort. The special effects are very primitive by today's standards and probably were not been terribly convincing even in 1951. But that's okay - this isn't an effects movie. An alien man, Klaatu, comes out. He is human, or at least humanlike. He announces he wants to address all the nations of the world. American agrees but the Soviets refuse. Klaatu escapes from government minders, disguises himself as a businessman, and takes a boarding room in Washington to use as a base of operations.

The movie was fairly loosely based on a 1940 short story called, "Farewell to the Master," by Harry Bates. Bates was one of the towering figures of science fiction in the 1930s and 1940s, a time known as the "Golden Age of Science Fiction." Amazingly, I found the text of Farewell to the Master online - you can read it here, and I heartily recommend it to you.

In the end, Klaatu makes it back to his spaceship. Gort is revealed an extremely powerful and destructive machine, equipped with a vaporizer ray, for example, as two soldiers guarding him discovered. Many critics say that Klaatu is a Christ figure - he comes from the heavens, is rejected by the authorities, hunted down and shot by soldiers. He resuscitates, then announces just before his ascension into the heavens that his purpose is to save humankind.

While the cinematic parallels are doubtless intentional, Klaatu as Christlike doesn't hold water. Klaatu is really an emissary of the "civilized" races of the universe, but he is revealed in the film's denouement as a galactic bully, a mere thug delivering a cruel ultimatum: either humankind stops making war or "the earth will be turned into a cinder."

Moreover, it is Gort, not Klaatu, who holds the earth's fate in his hands. Klaatu explains that his race created Gort and others like him to annihilate any people or any planet that breaks the peace. The robots' power is absolute and cannot be revoked, says Klaatu. The result is that they live in peace, and if humanity wishes to survive it must accept the dictatorship of the robots.

What Klaatu seems not to understand is that while he and his fellows live in peace, it is literally the peace of the grave. They are slaves. Their message to earth is simple: becomes slaves like us or die. This is not a message for the ages, and were it not for the movie's technical merits, it probably would have rightfully passed into oblivion long ago.

There is a high level of technical excellence in the movie. The use of light and shadow, always crucial in a black and white film, is very well done. Klaatu, played by Michael Rennie, is kindly and attractive - that is, until he makes his naked threats. The movie foreshadows the coming of Mutual Assured Destruction, MAD - the uneasy, dangerous equilibrium of neither peace nor war the USSR and USA found themselves in not many years later. Like thermonuclear weapons, Gort and the robots are weapons of mass destruction, only on a cosmic scale.

Unlike TDTESS's approximate contemporary, 1953's War of the Worlds, the alien's mission is dramatically presented as intriguing, even hopeful, until the end. It is not Klaatu or Gort who are aggressive, except for Gort's inexplicable vaporizing of the two guards. It is the human beings who use violence, who shoot Klaatu for no good reason. Klaatu is dramatically developed as the soul of friendliness; he even becomes a father figure to the son of the woman running the boarding house.

Yet the idea of machines having ultimate destructive power is one that hardly appeals to us. Only 32 years later Arnold Schwarzenegger would become a star by playing another version of Gort, but one somewhat less powerful. The apotheosis of machine-driven WMDs is excoriated in that movie's second sequel, Terminator 3.

Another thing that doesn't hold up today is the total absence of media at the spaceship's landing site. No reporters, no curious crowds, no tour buses. Once Klaatu appears and enters into conversation with the authorities, the tanks are withdrawn and the ship is secured by two lonely soldiers after a temporary wall is built around it. Klaatu is thus able to go in and out of his ship with ease, even when the authorities are hunting for him. Oh, please.

I see why the movie did endure, but I can't see why it still does. Its ending no longer shocks but repulses, and because the ending is the whole point of the story, the movie's merits don't carry the day. ( Farewell to the Master's ending is altogether different, and much better, btw.)