Beneath the Planet of the Apes (1970)

 "The're going to kill you, and then dissect you. In that order."

This is, perhaps, a mainly predictable sequel in which another human astronaut- Brent- arrives on the tail of Taylor and discovers the same society in a slightly more ecomomical manner. It seems, at first as though we're getting a rerun of the first, but with a B-movie actor (James Franciscus, of the splendid Valley of Gwangi) instead of an A-list one- although Charlton actually has a significant role here.

Yet ultimately, as the apres invade the Forbidden Zone, after a nice bit of gorilla vs chimpanzee conflict, we learn more, as it now seems the Zone is inhabited by telepathic humans (I love how we don't hear their voices as they interrogate Brent, but his responses are carefully worded so we can follow...) who feel very futuristic and worship a nuclear bomb.This is all delightfully twisted, especially the extended fifty megaton version of "All Things Bright and Beautiful", culminating firstly in all of them removing their suspiciously convincing masks to show their ravaged faces, then a scuffle, then sudden armageddon, which makes me rather interested in how come we shall be getting several more sequels. It's all delightfully bonkers.

The underground bomb worshippers were a definite influence on The Face of Evil, fellow Doctor Who fans. And we get no fewer than two former foes of Adam West's Batman in Maurice Evans and Victor Buono. The latter plays a character calls "Fat Man." Although Don Pedro Colley plays a character called "Negro"which is... yeah, 1970 was a different time. Fortunately.

A Matter of Life and Death (1946)

 "Stupidity has saved many a mind from going mad."

This is certainly a contender for the finest film I've ever seen and although, at the time I blogged my first film in 2011 I felt myself slghtly uncultured when it came to cinema (if you grew up wearing hearing aids in an era of videotape, with no subtitles, reading books becomes a much lazier option) but I suspect I may have a broader perspective now, aged 44 in 2021. This may well be the film I currently believe to be the greatest ever made, flexible though such statements are. Ask me tomorrow.

What makes this film great isn't necessarily the superb direction by Powell and Pressburger- many films are well shot. Nor is it the charismatic performance from David Niven. It's impressive, but hardly the only excellent performance from a star that there ever was. It's well made, well acted, well-written and all the things one usually praises a film for. These things explain why it's good, but not why it's great.

No; what makes this possibly the greatest film ever made is... well, the wit, yes, but it's better than that. The opening line "Space. Big, isn't it?" seems to presage Douglas Adams in four words. The parallel between Peter's operation and his trial in the gloriously bureaucratic afterlife is exquisite and, in hindsight, much imitated. Kim Hunter is sexy. The use of poetry, and not just the usual F.R. Leavis-approved stuff, is glorious. One has to admire a film that, in 1946 and at the height of Sir Walter Scott's unfashionability, slips him in among the Marvells and a nicely obscure work from Ralegh.

The dialogue is lierature. The people are real. This is the greatest film ever made. Possibly.

Planet of the Apes (1968)

"The vet's going to geld him."

Wow. I know this film is famous, but I wasn't expecting it to be so good. So good, in fact, that I'm going to ignore the awkward fact that all the apes speak English. I can be nice that way.

The opening of the film both sets up the premise and gives us a bit of misdirection; we expect the film to be about Taylor and the two surviving crew members, but in fact they both die early on- Dodge first, of course. We expect this: he's black.

Our three astronauts have travelled in an interstellar craft to another star system, it seems. Incredibly from our vantage point we have dialogue establishing that they're from the twentieth century: Landon graduated in the "class of '72". Still, although only eighteen months have passed for the crew, time dilation now means that the year is now 3978. Everything and everyone they ever knew or lived is dead, as Taylor delights in telling his crewmates.

I had to raise an eyebrow that the female character was essentially put there to be a brood mate(!), but both the set-up and the establishment of world are good. Taylor is a fascinatingly nuanced character, a cynic on the surface but with some high ideals hidden deep down.The real depths of his character are a real credit both to the script and to Charlton Heston's superb performance.

The plot unfolds slowly before the big reveal: this is a world where sentient apes rule and humans are mere beasts. Technology and social mores, it seems, are about a century behind the world which Taylor left. Powered flight remains unknown and theories of evolution are controversial. 

The ideological contrasts between the apes are shown through the characters of Zaius- a fundamentalist anti-evolutionist with a real contempt for human "beasts", the scientifically curious Zira and Cornelius, who holds heretical theories about humans being more advanced in the past. The big reveal at the end- and Heston's performance makes it pack a punch even though popular culture has long since spoiled it for all of us- is, of course, that this is Earth. Humans destroyed themselves in some sort of self-inflicted (nuclear?) disaster, and the senior apes know this. Zaius's speech to Taylor at the end is crushing: humans are warlike and murderous while apes are not,and paid a just price. Suddenly we can no longer see Zaius as straightforwardly prejudiced. This links back cruelly to Taylor's speech in the first scene as he speculates on whether humanity has become less warlike and cruel. This is a masterly piece of structuring.

Everyone should see this film. It's certainly the best I've seen this year.